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UNITED STATES OF AMERICA. 



AMATEUR THEATRICALS 

% practical ©tribe for #matar Actors 



CONTAINING DIRECTIONS FOR ORGANIZING CLUBS, STAGE MANAGE- 
MENT, SELECTING PLAYS, CASTING CHARACTERS, 
REHEARSING, COSTUMING, MAKING- 
UP AND ACTING. 



CHARLES TOWNSEND 




NEW YORK 

HAROLD ROORBACH, PUBLISHER 

9 MURRAY STREET 



Copyright, 1890, 

BY 

HAROLD ROORBACH. 



TO 

THE AMATEUR DRAMATIC SOCIETIES 

OF AMERICA 
In Testimony of Their Noble and Unselfish 
Labor for Charity's Sake 
This Book 
IS FAITHFULLY INSCRIBED 

BY 

THE AUTHOR 



CONTENTS. 



CHAPTER I. 

Introduction.— Real Life vs. Acting.— Some Faults. — Shirking Business.— Errors to 
Avoid, ii 

CHAPTER II. 

Organizing. — About Discipline. — Selecting your Members. — Various Characters. — 
Comedians. — The Heavy Man. — The Leading Man. — Utility. — The Ladies. — 
Elderly Roles. — The Leading Lady. — The Ingenu. — The Soubrette. — Some Sug- 
gestions, 13 

CHAPTER III. 

Thb Stage Manager. — His Requirements. — My Own Experience. — Good Nature — 
An Eye for Color. — Act Endings. — The Supers. — About Drilling. — His Author- 
ity, 17 

CHAPTER IV. 

The Prompter. — An Important Position. — His Duties. — Special Hints. — The" Plots." 
— An Anecdote of '* Uncle Tom's Cabin." — The " Entrance" Plot. — The " Prop- 
erty" Plot. — The "Scene" Plot. — Music Cues.— Additional Duties, , 20 

CHAPTER V. 

Other Officers. — The Business Manager. — His Duties. — Outside Work. — Advertis- 
ing.— Bills, Programmes, Lithographs. — Hall, Music and Properties. — Reserved 
Seats.— The Secretary and Treasurer. — The Orchestra Leader, 23 

CHAPTER VI. 

The Play.— A Grave Question.— An Important Rule.— Standard Plays.— What Plays 
to Avoid. — What Plays to Select.— Quick Action. — An Important Consideration. — 
Plays for Light Comedians, — For Low Comedians. — For Character Actors. — For 
Pathetic Work. — A Question of Scenery. —An Incident. — An Amateur Company in 
" Ruy Bias." — Concerning Imitation. — Another Anecdote. — Coaching an Amateur 
Company in "East Lynne."— Remarks, 25 



6 



CONTENTS. 



CHAPTER VII. 

Casting the Characters.— Now for Trouble ! A Peculiar Fact.— Grumbling and 
Growling. — Importance of Small Parts. — Selfishness. — Mutual Concessions. — How 
to Select Characters. — No Cause for Jealousy, 30 

CHAPTER VIII. 

Rehearsals. — Three Important Rules. — Studying a Part. — Reading the Play. — The 
Best Way to Study. — A Sample Rehearsal. — The Need of Patience. — Careful 
Work. — Keeping Quiet. — Properties. — The Number of Rehearsals. — Dress Rehear- 
sals. — The Aid of a Professional Teacher, 33 

CHAPTER IX. 

Some AcTORS.-The Careless Actor. -His Blunders. -The Argumentative Actor.— The 
Officious Actor. — The Dictatorial Actor. — His Arrogance. — The Lazy Actor. — 
The Grumbler. — The Obstinate Actor. — The Restless Actor. — The Patronizing 
Actor. — His Unpopularity. — The Excellent Actor. — The Ladies. — The Talkative 
Actress. — The Giggling Actress. — The Tragic Actress. — Her Ambition. — The 
Vain Actress. — The Excellent Actress. — Types of Real Life, 39 

CHAPTER X. 

On Acting. — The Principles of Acting. — Edwin Booth. — Action. — Expression. — Ges- 
tures. — Hamlet's Advice. — The Climax. — Position on the Stage. — Some Require- 
ments. — Music. — Lester Wallack and the Cornet. — Singing. — Dancing. — French. — 
Sword Play. — The Voice. — Delivery. — Pauses. — Inflections. — Emphasis. — Tone. — 
Ranting and Roaring. — Restrained Emotion. — Repose in Action. — Comic Parts. — 
Overacting. — Pathetic Business. — A Comparison, 46 

CHAPTER XI. 

The Passions. — Collins' Ode. — Anger. — Anxiety. — Attention. — Admiration. — Affec- 
tation. — Arguing. — Authority. — Affirming. — Boasting. — Commanding. — Courage. — 
Condemning. — Curiosity. — Defiance. — Denial. — Despair. — Desire. — Death. — Envy. 
— Fear. — Fatigue. — Folly. — Fainting. — Grief. — Gravity.— Gratitude. — Hope. — Hate. 
Hypocrisy. — Impudence. — Intoxication. — Infirmity. — Joy. — Jealousy. — Judging. 



—Love. — Mirth. — Melancholy.— Malice. — Madness. — Pleading. — Petulance.— 
Perplexity. — Pity. —Pride. — Pardoning. — Revenge. — Remorse. — Reproof. — Sub- 
mission. — Shame. — Tempting. — Vexation. — Veneration. — Wonder. — Remarks on 
the Above, 57 

CHAPTER XII. 



By-Play and Business. — Importance of By-Play. — What it Is. — Must not be Over- 
done. — An Incident. — A Ruined Scene. — Standing Still. — Writing Letters. — Count- 
ing Money. — Dialect. — Kneeling. — Points to Consider. — Description of By-Play. — 
A Stage Fight. — Extempore Lines. — Points to Consider, 69 

CHAPTER XIII. 

Making Up.— Looking a Part.— A Difficult Art. — Daubing not Painting.— The Proper 
Light. — An Important Consideration. — The Necessary Articles and How to Use 
Them. — Grease Paints. — Water Cosmetics. — Spirit Gum. — Rouge. — Nose Putty. — 
Email Noir.— Burnt Cork.— Ruddy Rouge. — Cocoa-Butter. — Artists' Stomps — 



CONTENTS. 



7 



Powder Puffs. — Hare's Feet. — Face Powders. — Make-Up Boxes. — How to Make 
Up.— The Eyes.— The Eyebrows.— The^Nose.— The Mouth.— A Large Mouth.— A 
Small Mouth. — Good Nature. — 111 Nature. — Shading. — Wrinkles, — A Thin Face. — 
A Fleshy Face.— The Neck.— The Hands.— The Teeth.— Youth.— Manhood.— 
Middle Age. — Examples of Make-Ups. — Old Age. — National Types. — English. — 
French. — German. — Spanish. — Italian. — Scotch. — Irish. — Mexican. — Indian.— 
Negro. — Chinese. — Jews. — Countrymen, Sailors, Etc. — Wigs. — Variety and Style. 
— Effect on the Features. — Some Observations. — Beards. — On Wire. — On Gauze. — 
How to Use Crepe Hair. — A Resolution, 74 

CHAPTER XIV. 

Costumes. — Harmonious Dressing. — Style. — Changing the Figure. — Costume and 
Character. — Young Men. — Servants. — The Surroundings. — Jewels and When to 
Wear Them. — Interior and Exterior Scenes. — Some Absurdities. — Gloves, When 
Worn. — Eccentric Characters. — A Gambler's Dress. — A Farmer. — The Seasons. — 
Changing Costumes. — Color.: — Black, White and Tints. — Solid Colors,.. 95 

CHAPTER XV. 

Concluding Remarks.— About Scenery.— Drawing-Room and Public— Setting the 
Stage. — A Ridiculous Scene. — The Cues. — Attention to Business. — Keeping Quiet 
off the Stage.— A Question of Duty.— The Way to Succeed.— Some Final Rules, 99 



PREFACE. 



HE practical study of the histrionic art is beneficial in 



1 many ways. It teaches one to speak the English lan- 
guage properly ; to be easy and graceful in movement ; to 
lose self-consciousness. Therefore, it should be encouraged. 
Such, then, is the purpose of this book. 

In preparing this work I have avoided all theoretical vapor- 
ings, and have padded no lines with superfluous words nor 
idle phrases. 

What I have written is the result of long experience on 
both the amateur and the professional stage; therefore, this 
work being practical will, I trust, be valuable. 

I do not imply by this that even the most exhaustive 
study of the following pages will make a great actor of the 
amateur. Nothing but experience combined with natural 
ability can do that. But if the hints and suggestions herein 
noted are carefully followed, any amateur possessing the 
requisite amount of pluck and energy can give at least a 
creditable performance — which, in truth, is all that can be 
expected from one who devotes but a few brief hours to an 
art at once exacting and laborious. 

This work — which is, practically, a primer of dramatic art 
— is in no sense a thesis for the professional actor. He has 




10 



PREFACE. 



served his novitiate — else he has no business with the sock 
and buskin. But even the finished actor may find an occa- 
sional reminder which will prove beneficial ; and many so- 
called " professionals" should digest the book, covers, bind- 
ing and all. 

I might have written a larger book ; I could not well 
have written a smaller one. If it pleases you — well and 
j^ood; if it does not please you — again well and good. 

Charles Townsend. 



CHAPTER I. 



INTRODUCTION. 

AN amateur theatrical entertainment, if well conducted, is 
a double enjoyment — actors and auditors being mutu- 
ally pleased. On the other hand, a badly represented play is 
wearisome to everybody. If the actors fail to grasp the mean- 
ing of their lines, if they are not up in their parts, if their 
entrances and exits are ill-timed and their words inarticulate, 
then the entertainment will be a dire failure. 

Some knowledge of stage craft is absolutely necessary. 
Even in the society comedy one must know how to enter and 
leave the stage ; for, be it understood, the most finished draw- 
ing-room lounger would cut a sorry figure if he attempted to 
do the stage gentleman from a society standpoint. People in 
real life neither talk nor act as they do before the footlights. 
The unbroken flow of dialogue, the constant wit, humor and 
steady action — so necessary to drama — are never seen outside 
the theatre. On the stage we see things not as they are but as 
we imagine them to be. And the actor succeeds best who best 
keeps up this illusion. 

Although it is true that great actors are born, not made, yet 
any person of sound mind and body can act some parts fairly 
well. Do not infer from this that every young woman can do 
Juliet, or every young man Romeo. Far from it. Indeed, it 
is this very presumption among certain too ambitious amateurs 
which leads to so many disastrous failures. A long, five-act 
tragedy is beyond the ability of even the most experienced 
amateurs, and it is rank folly to attempt anything of the kind. 

Lack of application frequently ruins what might otherwise 
be an excellent performance. Too often it happens that peo- 



12 



AMATEUR THEATRICALS. 



pie either through carelessness, timidity or stubbornness, refuse 
to enter into the spirit of their parts, and the whole perform- 
ance suffers. Either do your best, or do nothing. 

Another serious fault which frequently puts a damper on an 
entertainment, is the inexcusable error of putting off certain 
lines of stage business until the night of the performance. If 
a man in command of an ocean steamer should declare that it 
would be time enough to learn navigation after he got out of 
sight of land, people would call him a lunatic ; yet amateurs 
act in a similar way when they go through rehearsal after 
rehearsal, leaving important stage business until the last night. 

And finally we have that unmitigated nuisance, the stumb- 
ling actor, who is never up in his lines, gives wrong cues, and, 
over and again, throws an entire scene into confusion. Such 
a man, no matter how great his natural ability may be, should 
be dropped without ceremony. 

These and kindred subjects will be taken up later on and 
thoroughly discussed. They are mentioned at the outset 
because of their vital importance. Errors of this sort must be 
avoided from the beginning, otherwise a " ragged " perform- 
ance is sure to follow. 

Amateur acting is a pleasant diversion, a worthy pastime, 
and beneficial to all concerned. But good acting can be 
achieved only by perseverance, industry, and a willing, unsel- 
fish spirit. 

In the following pages I propose to treat each branch of the 
art separately, in a plain, exhaustive, and common-sense man- 
ner. I shall avoid, so far as possible, the usual " shop talk " 
of the stage, which would be unintelligible to the average 
reader. All unfamiliar terms will be fully explained, and the 
descriptions will be such that, if carefully followed, a first- 
class entertainment will be the result. The hints and sugges- 
tions which I give are thoroughly practical — the result of long 
years of experience — and therefore should be followed to the 
letter, even though at times they appear unnecessarily hard. 



CHAPTER II. 



ORGANIZING. 



'HE old and true saying to the effect that everybody's bus- 



1 iness is nobody's business applies with marked emphasis 
to amateur theatricals. People must be talented indeed who 
can give a good entertainment without a stage manager, prop- 
erty-man, prompter or business manager. Yet many amateurs 
attempt this very thing, and wonder blankly at their lack of 
success. 

On the professional stage discipline is very strict. Lateness 
at rehearsals, stage waits, loud talk behind the scenes, etc., are 
punished by more or less heavy fines. Unfortunately, the 
amateur stage manager is unable to exact obedience by fines or 
threats ; therefore, in organizing a club it is best to include 
only those who will be prompt, earnest and willing. 

In choosing the members of the club it is well to diversify 
the characters as much as possible. Bear in mind, however, 
that people must be selected who have natural ability in cer- 
tain roles. Few amateurs are versatile enough to assume any 
characters. If cast in suitable parts they may act naturally 
and effectively j but cast them in unfamiliar lines and failure 
is certain to follow. Therefore if one of your company has a 
penchant for Irish characters, put him down for " character " 
parts. Dialect is his forte, and he should attempt nothing else. 
The "low comedian," who does comic parts, must be a man 
with a natural fund of humor — of a jovial, rolicking kind. If 
he is able to do "dialect " parts, so much the better. The 
"eccentric" comedian appears in many plays, but owing to 




14 



AMATEUR THEATRICALS. 



his touch-and-go qualities is very difficult to find. He is the 
fiery old soldier, the crusty lawyer, the crabbed old servant, 
and so on. Men who play these parts well are rare even on 
the professional stage ; so if you have the good fortune to find 
one among your amateur friends treat him gently, for he is a 
"gem of purest ray serene." You will need a grave, digni- 
fied gentleman to play the bland and philanthropic " old 
man " — he of the soft heart and softer head, who loans the 
hero money without security and is the firm, though of course 
platonic, friend of the heroine. The "juvenile man" does 
the young lover; his part rarely rises above that of a "walk- 
ing gentleman" and consequently he has but little to do. 
The " heavy man " is the detested villain who seeks to destroy 
the peace of mind of the heroine, who, in turn, usually gives 
him a piece of her mind, garnished with adjectives too numer- 
ous to mention. He has a thankless part. The soubrette 
makes faces at him and says that he is M mean ! " The hero- 
ine sobs and calls him a f* bub — bub — brute ! " and the hero, 
after throwing sarcastic remarks and things at him all through 
the play, usually winds up by wafting him to a place where heat 
is a drug in the market. The " heavy man " must be a good 
actor, because a gentle villain is a theatrical impossibility. 
The " leading man " should be your best actor, and versatile 
withal. He should be blessed with at least a modicum of 
good looks ; and a fair knowledge of elocution will prove of 
the utmost value, particularly if you attempt anything heroic. 
You will also need one or two unambitious gentlemen for 
" utility," to enact minor characters. 
But the ladies ! 

Ah, now then, prepare for trouble. 

Nothing short of Juliet, Pauline, or at least Frou Frou 
will satisfy the rising star of your dramatic club. Therefore, 
if you would be truly happy, do not admit any theatrical-mad 
young women to membership. At the outset you should 



ORGANIZING. 15 

secure a staid, married lady for " old woman" characters, 
without whose services you can have no fond mammas, 
aggressive mothers-in-law, bric-a-brac old maids, nor stern 
female par-i-ents. For you may as readily expect to find ice- 
bergs in Florida as any young lady who will consent to enact 
an elderly role. The " leading lady" — the heroine whose 
course of true love runs more or less crooked — must needs be able 
to portray a great variety of emotions. Like the leading man, 
she should be versatile enough to represent love, hate, joy, 
sorrow, and, in fact, the entire round of dramatic passion. 
In the modern domestic drama, which without doubt is best 
suited to amateur clubs, there are few opportunities for indul- 
ging in the grand passions — for which let us be truly thankful. 
At the same time nobody knows what amateur actors will not 
attempt, so it is best to be prepared. Few amateur actresses 
are capable of depicting the " ingenu " — that delightful young 
woman who looks so innocent and knows so much — yet the 
character is a favorite with many authors, and if well done 
always makes a hit. The young lady who is selected for this 
line of work should have a natural air of naive innocence, and 
be able to keep her features under control at all times. Your 
real ingenu does not bite off her words, mince, giggle nor 
chew gum. The charm of her work lies in the assumed art- 
lessness of her words and actions. The more natural the 
assumption is, the better the part will be. The " soubrette " 
is Fun personified. Soubrette parts should be played by a 
girl who is full of life, fun and mischief ; she may laugh, sing, 
dance, cry, pout and raise Cain generally. It is needless to 
say that no prude nor disciple of Browning should be cast in 
this liveliest of lively roles. 

The foregoing list of characters is all that you will need for 
most plays. And now, having secured your company — which, 
by the way, has been a task of no little difficulty, since the 



i6 



AMATEUR THEATRICALS. 



people you want most are often the most difficult to secure — 
you are ready to organize. 

Every dramatic club should have a stage manager, business 
manager, secretary and treasurer — the two latter being usually 
combined. There should also be a regular prompter and 
property-man — two officials of the utmost importance. 

If rules and regulations are drawn up, carefully specifying 
the duties of officers and members, much friction will be 
avoided. Members will then know what is expected of them ; 
there will be no clashing of authority, and all will go 
smoothly. 

Let no one join an amateur dramatic club unless willing to 
do everything possible to make the pastime a success. If the 
stage manager casts you for a servant when you aspire to do 
Richard the Third, you should take the part offered you, 
without grumbling, and play it to the best of your ability. 
The despised " skeleton " may in your hands become a veri- 
table giant and live in the memory of your hearers long after 
more ambitious characters are forgotten. 



CHAPTER III. 
THE STAGE MANAGER. 

A GOOD stage manager needs the wisdom of Solomon, 
the patience of Job, and the diplomacy of Tallyrand. 
He must have these qualities to a degree at least, or he will 
speedily find himself in very hot water. 

During my somewhat varied experience in theatrical work 
I have found no other position so exacting as that of stage 
manager, and my sympathy goes out whole-hearted to every 
amateur who attempts it. 

He should be a good-natured man, and firm withal. And 
it may as well be understood from the outset that his authority 
must be unquestioned. His judgment must be final in every 
instance, or the result will be confusion worse confounded. 
Of course he should not be arbitrary. Private suggestions should 
receive respectful attention. But during rehearsals his direc- 
tions must be followed without question. 

He must necessarily be a good actor, well-read, and quick- 
witted, and should possess at least a fair knowledge of technical 
stage craft. For he must know how to set the stage, to 
arrange entrances, exits, and the general business of each act. 

He should be thoroughly en rapport with each character of 
the play, as he will be expected to instruct the actors in their 
several parts — in gestures, expression and "business." He 
must show them how to bring out the salient points, where to 
loudly thunder and when to gently coo ; to speak rapidly or 
slowly ; to sit or to stajid ; to pose or to walk about ; to ges- 



18 AMATEUR THEATRICALS. 

ticulate or to stand at ease. He must encourage the timid, 
check the bold, and keep the laggards at work. 

The stage manager should have, moreover, a good eye for 
color, and, if wise, will strenuously insist that the characters 
be costumed according to his directions j else some astonish- 
ing effects will be produced. For instance, if one actress 
wears a close-fitting, dark red or black dress, and another a 
light, fleecy gown, the former will appear about ten feet high 
while the latter will, in juxtaposition, resemble a Dutch 
churn. 

In arranging act endings, or tableaux as they are called, the 
stage manager must see that the characters are appropriately 
grouped so as to form a living picture, with the leading people 
at the centre of interest. 

In amateur theatricals the stage manager is also " King of 
the Supers." In other words, he instructs those characters 
whose acting consists of 1 ' dumb show and noise." These 
characters, apparently so trivial, are in many plays vastly 
important, and frequently serve to make or mar a scene. If 
the " howling mob " forgets to howl, or the 14 ringing cheers " 
fail to ring j if the " veteran soldiers" march like school-boys, 
and the 44 merry village maidens " look glum ; in short, if the 
supernumeraries fail to grasp the idea which their presence 
conveys, they will make the play and themselves alike 
ridiculous. 

For this reason it is best, whenever possible, to avoid plays 
containing these characters. But if you must have them, let 
the stage manager resolve to drill them thoroughly. No half- 
way measures will do. The work must be systematically laid 
out, carefully gone over, and each (( super" made to identify 
himself with the character assumed. It is tedious, thankless, 
exacting work. The scene must be gone over and over again 
until the business is thoroughly mastered, and the tendency 
toward clock-work action is removed. The representations 



THE STAGE MANAGER. 



19 



of surprise, fear, joy, sorrow, etc.. must be varied, or the 
effect will be extremely laughable. One of the most ludic- 
rous scenes in a certain popular burlesque was the concerted 
action of a dozen or more supernumeraries. The gestures of 
scorn, rage, defiance, etc., were made in unison, and the 
effect can better be imagined than described. 

But it is in casting the plays that the stage manager will 
find the greatest demand for diplomatic skill. He must give 
up the idea of pleasing everybody, and depend instead upon 
his own judgment and common-sense. He should exercise 
the greatest care in selecting the various characters, giving 
particular heed to the peculiarities, tastes, experience and 
ability of each member. Personal feelings should have no 
weight in casting plays, since the manager's best friend may 
be a very indifferent actor. 

When the cast is once made there must be no kicking over 
the traces. Those who have leading parts must understand 
that much is expected from them, and that only by hard, 
steady work can they do themselves or the play justice. The 
lesser lights should bear in mind that their parts in proportion 
are very important, and deserve thorough, careful study ; 
remembering particularly that even the smallest role may be 
made a character if well done. 

The stage manager will require a vast amount of tact, energy 
and discretion if he hopes to win success. He must know 
whom to coax and whom to scold ; when to yield and when 
to be adamant ; and, no matter what difficulties may arise, he 
must never own up beaten, but must find some way to get out 
of the tangle, so that the club may not lose faith in his ability. 

He will find his patience sorely tried, and at times may 
imagine himself in Bedlam. But pluck will carry the day, and 
in due time the company will get into working order and all 
will go smoothly. 



CHAPTER IV. 



THE PROMPTER. 

NEXT to the stage manager, the prompter is the most im- 
portant man in an amateur dramatic club. 
Combining as he often does the duties of prompter and 
property-man, his duties are manifold and tedious. It is his 
friendly voice that eases the pangs of stage fright, strengthens 
the doubtful, and gives confidence to the whole company. 

He should be a non-actor of course, and moreover, a watch- 
ful, energetic and patient gentleman. He is expected to 
prompt the forgetful, issue the warning calls for entrances, 
and, in most amateur companies, to look after the properties 
and attend to whatever business is required in the wings. 

All this requires judgment, so that especial care should be 
exercised in choosing a man for this responsible office. 

The prompter will find it an excellent plan to note the 
characteristics of the several performers. He will thus dis- 
cover that some will want but a single word, while others need 
half a sentence ; some are letter perfect and require no aid, 
while others through nervousness, fright or over-study demand 
extra vigilance and constant prompting. By observing these 
peculiarities he will find his own work much easier, to say 
nothing of adding to the smoothness of the performance. 

The prompt side is usually at the left of the stage, and the 
prompter takes his station at the front with a copy of the play, 
also "entrance," "scene," and "property plots." The 
properties should also be in his immediate charge, and iron- 
clad rules made prohibiting everybody from meddling with 



THE PROMPTER. 



21 



them. The necessity for this will be shown by the following 
incident. I was doing Legree in " Uncle Tom's Cabin," and 
had been called for the last act, in which Tom is killed by a 
blow from Legree' 's whip ; but no whip could be found, so I 
was obliged to go on empty-handed. In my dilemma I 
resolved apparently to kill Tom with a blow from the fist. 
Now it chanced that the actor who did Tom had " indulged" 
enough to become fighting drunk ; so instead of dropping 
when I struck, he sounded a war whoop, " sailed in " and the 
curtain went down on a regular free fight ! And all because 
somebody had misplaced a whip. 

The " entrance plot " contains a list of entrances for each 
character, together with the properties required at each 
entrance. A convenient way to arrange it is to mark a num- 
ber on the margin of the play book about a " length " — 42 
lines — before an entrance. A corresponding number, followed 
by the name of the character, is entered on a slip of paper. 
The next entrance has a different number ; and so on through- 
out the play. This slip is handed to the call boy who stands 
beside the prompter. When a number on the margin is 
reached the prompter announces it ; the call boy looks at his 
list, hunts up the characters under that number, announces 
the " call," gives the character the properties marked on the 
list, and returns at once to his position. This is continued 
until the end of the play. All properties must be returned to 
the prompter as soon as the scene is ended. 

The M property plot " is a carefully itemized list of every 
article required in the play. It should contain first, all those 
articles which are to be upon the stage when the curtain rises ; 
second, all articles to be carried on by the actors. The 
prompter should go carefully over his list and be sure that the 
stage is properly set before he ' ' rings up." If he neglects 
this some very serious blunders will follow ; the will, the 
money, the letters are not in the safe or desk ; the result is 



22 



AMATEUR THEATRICALS. 



confusion and a ruined scene. The list of articles to be car- 
ried on by the actors must likewise receive, careful attention ; 
all the articles needed for this purpose should be at hand so 
that the call boy can deliver them promptly. Eternal vigi- 
lance is indeed necessary when handling properties. 

If there is a shift of scenery in the play, then a 11 scene 
plot " is required. Amateurs rarely attempt anything very 
elaborate in scenic effects, therefore the scene plot need spec- 
ify nothing more than the various drops, their location, etc., 
care being taken that the stage is set so that the drop will not 
fall upon the furniture. I once saw a street drop fall behind 
a couple at dinner, who doubtless shared the astonishment of 
the audience at finding themselves suddenly transferred to the 
middle of the king's highway. 

The prompter should also write out the " music cues " for 
the leader of the orchestra, giving the words or business, the 
style of music required — whether grave or gay — and the neces- 
sary number of bars to be played. 

During the performance he is expected to attend to all out- 
side demonstrations, such as snapping whips, smashing dishes, 
ringing bells, blowing horns, firing guns, barking, howling, 
groaning, growling, cheering and yelling, besides looking 
after the thunder, lightning, rain and red fire. All this and 
much more is demanded of him, and he is expected moreover 
to keep his temper under any and all circumstances ! 

Small wonder then that the prompter is such an important 
individual, without whose careful, intelligent services it is 
almost impossible to give a good entertainment. 

Select your prompter with care and when you get a good 
one strive to keep him, for his place is not easily filled. 



CHAPTER V. 



OTHER OFFICERS. 



'HE business manager is the responsible " outside man " 



of the club. He attends to the " front of the house," 



and, like the prompter, should be a non-actor. 

His position is by no means a sinecure. 

The business manager must see . that the bills, posters and 
programmes are printed and distributed. This is an import- 
ant matter, because a full house cannot be had unless the 
entertainment is properly " boomed," and it is certainly dis- 
couraging to play to empty benches. 

Liberal advertising always pays. The newspapers should be 
<( worked " for notices, suitable lithographs should be secured, 
while bills and programmes in liberal quantities must be cir- 
culated. It will be well to give this work personal attention 
in order to know that it is done thoroughly. Stock lithographs, 
suitable for a great variety of plays, may be purchased in most 
of the larger cities, and it will be wise to invest in a good 
assortment, to which date lines can be pasted. These posters 
and lithographs should be put up at least a week before the 
entertainment. 

It is likewise the duty of the business manager to secure the 
hall, music, and necessary properties — a list of the latter being 
furnished him by the prompter. If seats are reserved he should 
look after the diagrams and tickets, and, by firmly suspending 
the free list, utterly rout the grand army of dead heads. 

The gentleman who fills the office of secretary and treasurer 
has comparatively an easy time. He attends to the corres- 




24 



AMATEUR THEATRICALS. 



pondence, receives and pays all money, and assists the other 
officers in various ways. He may act or not as he chooses ; 
but generally speaking it is best to have him a non-actor, as 
he should be in the box office during the performance. 

The leader of the orchestra should be present during the 
final rehearsals to familiarize himself with the music cues. 

It will be seen from the foregoing that the officers — particu- 
larly the manager and prompter — have highly important posi- 
tions, and must needs be men of unusual ability. They 
should be given unlimited authority in their several depart- 
ments, every member of the club promptly and willingly sec- 
onding their efforts. Success in amateur theatricals can only 
be achieved through concerted, harmonious work. From the 
moment that individual interests clash disintegration begins 
and the club speedily falls to pieces. Therefore bear and for- 
bear, resolving that whatever comes you will do your part 
faithfully. In this way alone can you hope to win success. 



CHAPTER VI. 



THE PLAY. 




i ROB ABLY no question creates more acrimonious discus- 
sion among amateurs than that of selecting the play. 



The manager of a professional theatre ponders long and 
deeply before assuming the risk of a heavy play ; but the aver- 
age amateur is ready to tackle anything from tragedy to bur- 
lesque, without a thought of the consequences. Here, then, 
is the prime cause of many failures. And right here I want to 
impress one cold, hard fact in the minds of my readers. 

DorCt be too ambitious. 

The masterpieces of dramatic composition, those grand works 
which have received years of patient study by the world's great- 
est actors, are utterly unfit for amateur clubs. Containing, as 
they invariably do, characters which require in portrayal the 
greatest histrionic art, characters wherein the grand passions of 
love, hate, jealousy and the like reach the climax of intensity, 
they demand for proper representation the genius of a Booth 
or a Cushman. There must be a wonderfully retentive memory 
to master the lines ; a full and complete knowledge of stage 
craft and traditions, which can be had only by years of hard 
experience ; a voice of rare power and exquisite culture ; a 
mobile face ; perfect ease in action ; and the physical power 
to endure the strain. Some of these qualifications can be 
secured by proper application. If a man has the time and 
patience to study every word, tone, look and gesture; to learn 
the intricate " business; " to grasp the conception of the char- 
acter in all its devious aspects — then, perhaps, if he has a good 



26 AMATEUR THEATRICALS. 

physique and natural talents, he may reach a high dramatic 
altitude. 

Supposing, however, that your club contains a "star" actor 
who, you are positively certain, can do a tragic role "better 
than lots of professionals," then in mercy to your other mem- 
bers do not make them ridiculous by hoisting your favorite 
into undue prominence. For the better he is the worse will 
the rest appear. 

It is well to remember that a five-act play, requiring three 
hours in representation, demands an amount of mental and 
physical stamina possessed by few amateurs. What amateur for 
instance would be willing to rehearse four or five hours daily ? 
Can the average amateur deliver blank verse properly ? Can 
he render a long, passionate soliloquy without mouthing or 
drawling ? Indeed, no. Bear these truths in mind then, and 
closet your classics unless you want to make your club a laugh- 
ing stock. 

The proper selection of plays will depend to a great extent 
upon your company. In any case two or even three short 
plays would be better than one long one. Very large casts are to 
be avoided. Somebody is always absent or late, and the 
larger the cast the greater the confusion. Taboo all plays hav- 
ing strongly pathetic male roles. Bob Brierly in the " Ticket- 
of-Leave Man " is such a character, and not one amateur in a 
thousand can do it justice. Plays with quick action are better 
than plays with quick wit. It is better to do a common play 
well than an uncommon play badly. Avoid the "heroic" 
school. If you must have plays of three or four acts, select 
those with strongly contrasted characters, devoid of too much 
intensity. A comedy, if brisk and snappy, or a domestic 
drama may be the principal play, followed or preceded by a 
short farce or comedietta. 

It should be borne in mind that the best actor in the club 
should be considered when choosing a play. If he is a light 



THE PLAY. 



27 



comedian, select "Home," "Ours," "School/' "Won at 
Last," and similar plays; while for comediettas or farces you 
may select " A Morning Call," " A Regular Fix," " Delicate 
Ground," "A Happy Pair," etc., etc. 

For a low comedian there are plays — especially farces — with- 
out number. Irish, Dutch and negro characters, all more or 
less comical, figure in these extravagant affairs, and must be 
selected according to the taste or ability of your first low com- 
edian. In the more ambitious plays the low comedian is of 
secondary importance as far as the story goes, although he often 
becomes, in the hands of a great actor, the star part. The 
role of Eccles t in " Caste," is a case in point. George Honey's 
exquisite art made this unsavory character the most striking 
figure in that charming comedy, and Joseph Jefferson's Bob 
Acres in " The Rivals," will long be remembered. 

If the leading lady is strong in pathetic work she will find 
plenty of opportunities in such plays as "Lady Audley's 
Secret," "The Woven Web," "Daisy Farm," "Lost in 
London." If her forte is in bright sparkling work, select a 
play like "A Scrap of Paper," "The Woven Web," "Part- 
ners for Life," " School," or " Border Land." 

The "heavy" man, who can play a villain gracefully and 
with proper spirit is often the best actor in many clubs. He 
will find good parts in "All that Glitters is not Gold," " The 
Woven Web," " Charity," and " By Force of Impulse." 

The selection of plays must depend to a certain extent upon 
the scenery required. It is a manifest impossibility to pro- 
duce upon a small stage any play requiring intricate and diffi- 
cult setting. Interiors, of course, are easily arranged, but 
street scenes, woodlands, lakes, rivers, mountains and the like 
require special drops. This difficulty has been practically 
removed however by the paper scenery which may be pur- 
chased from any dealer in theatrical supplies. It is cheap, 
durable, effective, and suitable for all purposes. 



28 



AMATEUR THEATRICALS. 



I cannot too strongly impress upon amateurs the vital neces- 
sity for selecting plays suited to their talents and surroundings. 
Don't, don't, don't select difficult comedies nor high pressure 
melo-dramas unless you wish to tempt fate. 

Some years ago the manager of an amateur company called 
on me with an urgent request to take the part of Ruy Bias in 
Hugo's famous drama of that name. The performance was to 
take place that night, and the leading man had sprained his 
ankle. It was already past seven o'clock, they had no under- 
study, and, to save a collapse, I consented. The performance 
must have been stupendous, judging by what I saw of it. Long 
practice had made me letter perfect in most of the lines, else 
the play had broken down a dozen times. The prompter's 
voice could not be heard beyond the wings, and I was con- 
stantly forced to prompt from memory. The gentlemen who 
played Don Sallustio and Don Caesar were not on speaking 
terms with their swords, over which they tripped and stumbled 
in the most amazing manner. The properties were mislaid, 
the supers wandered about as if dazed, and the Princess seemed 
afflicted with temporary loss of voice. The beautiful play, in 
short, was remorselessly butchered. Now that club had a good 
record, having produced many light dramas and comedies in a 
highly creditable manner. But " Ruy Bias "was too heavy, 
and failure was the inevitable result. 

Pathetic plays are not suitable, as a rule, for amateurs. The 
step from the sublime to the ridiculous is very short, and when 
pathos becomes bathos the play is ruined. Most people would 
rather laugh than cry. We meet too much of sin and sorrow 
in daily life to thoroughly enjoy a lachrymal play. When suf- 
fering is represented it must arise from special, not general, 
causes. A feeling of angry resentment toward the villain must 
be mixed with pity for the victim. Herein lies the success of 
plays ranging from the magnificent "Two Orphans" to the 
threadbare "Uncle Tom's Cabin." The pity we feel for 



THE PLAY. 



2 9 



Louise finds a counterpart in our pity for Uncle Tom ; and 
our hatred for Jacques is the same as our hatred for Legree. 

Strive to select plays which are neither all smiles nor all 
tears. It is the happy blending of light and shade that makes 
the great picture; and it is this same blending of joy and 
sorrow that makes the successful play. 

Amateur actors are too fond of copying. They prefer to 
imitate rather than originate. Apropos of this, a certain club 
engaged me to "coach" its membersin "EastLynne." This 
recoco play was selected because, forsooth, the leading lady 
wished to emulate Ada Gray as Lady Lsabel. The young lady 
who attempted the exacting double role in the tearful concoc- 
tion would have made an excellent Polly in " Caste," Mary in 
' *■ Our Boys ' ' or Louise in ' ' The Woven Web ; ' ' but she was 
positively bad as Lady Lsabel and superlatively awful as 
Madam Vine. The rest of the cast was but little better. The 
company was in deep water, and all the "coaches" living 
could not fit them to their parts. 

Avoid trying conclusions with great actors in their favorite 
roles. They have given years of study where you can give but 
days. The public never stops to consider this, hence you find 
yourself open to unfavorable comparisons. 

What are known as " one part " plays are not desirable for 
amateurs. The rapacious professional ' « star ' ' will have noth- 
ing else ; but you must not be selfish. Choose plays having a 
sprinkling of good parts for all, and thus avoid those petty 
jealousies which wreck so many promising clubs. 

The selection of plays rests of course upon the stage man- 
ager, and to his careful consideration this chapter is submitted. 




CHAPTER VII. 
CASTING THE CHARACTERS. 



NOW for trouble ! 
It was hard work to organize the company ; it was 
harder yet to select the play ; but the climax of difficulty is 
reached in making the cast. It is a notorious fact that 
amateurs, particularly those who have had no experience what- 
ever, always want to do leading business. Catch them playing 
" second fiddle " to anybody ! No sir ! 
Strange fatuity. 

When experience brings wisdom many of them will dis- 
cover that instead of being able to enact Romeo, Hamlet, or 
Othello, they are barely able to do a servant with three lines. 

This fact, consoling as it is, does not lighten the manager's 
burden. He must make a heavy draft on his stock of patience 
— for he will need it. There will be growling and grumbling all 
over the shop at the outset. The soubrette will declare that she 
should have been cast for the leading part, and the leading lady 
will be certain that the play selected hides her brilliant light under 
a bushel. The leading man' will think his part weak, and the 
juvenile man will declare that his is "slush." The walking 
gentleman will growl because he has so little to do, the 
low comedian can see nothing funny in his lines ; and so it 
will go throughout the entire cast. But the experienced 
manager will listen intently, look wise, give bland, ambiguous 
answers, and let the malcontents talk themselves dumb. Here 
is where diplomacy comes in. He will tell Mr. Smith, the 



CASTING THE CHARACTERS. 



3* 



comedian, who wants to do heroics, that of course he ought 
to do leading business, but, in the play under consideration, 
what could they do without his admirable comedy work ? And 
Miss Jones, who thinks her part unworthy of her transcendent 
genius, will be gravely informed that although the play is not 
up to her standard, yet by entering into the spirit of her part, 
by giving it her very best efforts, she can elevate it to her own 
level. He will agree as a matter of course with the juvenile 
man who thinks his part is " slush," but will smooth things 
over by telling him that in his deft, skillful hands the part will 
become pure comedy of the highest rank. In this manner one 
and all are satisfied, and soon working in harmony. 

When casting the characters the stage manager should seek 
to impress the fact that each and every character is important ; 
that however small any one part may appear it is really 
necessary to the proper development of the story, and that it 
must be acted in the best possible manner in order that the 
play may be balanced at all points. 

It is true moreover, that the smallest part, in the hands of a 
true artist, may be made to contrast sharply with the most 
ambitious role ; to equal if not surpass it in popular esteem. 
The principal reason for this is that in a small role one has 
more time to elaborate it; to analyze each line, word by 
word ; to study the effect of various readings ; to master every 
detail of business ; in short, to work up an ideal character. 

Intelligent people will readily understand that in casting a 
play the manager is frequently obliged to put aside all personal 
feelings in order that a proper distribution of parts may be 
had. And if the manager rigidly adheres to this principle, 
nobody has any right to complain. 

Yet despite all this, if any members are not satisfied with 
their parts; if they will not be prompt and willing at re- 
hearsals ; if they fail to enter with hearty good-will into the 
spirit of the play ; then let them leave the club at once, for 



32 



AMATEUR THEATRICALS. 



they will be of no earthly benefit. Certainly no level-headed 
manager will change a carefully selected cast to please a grumb- 
ling fault-finder. When a cast is once made the manager may 
be smooth as oil, but he should certainly be firm as Gibralter. 

There can be no objection, indeed, to mutual concession ; 
otherwise firmness becomes stubbornness — which is something 
very different. But changes may be avoided if the manager at 
the outset distributes the parts with due appreciation of the 
abilities of each performer. Amateurs, as a rule, should be 
given characters which are in accord with their several natures. 
Do not give a ''tearful" role to a chatterbox, nor a pert, 
lively part to girl who is naturally reserved and quiet. Your 
dignified gentlemen will not do for low comedy, nor your 
happy-go-lucky young dare-devils for proud and "starchy" 
characters. The popular saying that you must ' ' cut your coat 
according to your cloth " may well be applied to the work of 
selecting characters for amateur plays. Now and then persons 
may be found who are versatile enough to sink their own per- 
sonalities, or at least to blend them with the characters assumed. 
But such ability is rare among the ranks of amateurs, and in 
the great majority of cases it will be advisable to follow the 
foregoing plan of selecting each one according to his personal 
characteristics. 

Amateurs act for amusement. It is not with them a question 
of bread and butter. For this reason they should be entirely 
free from the petty jealousies and fierce rivalries too often seen 
in professional circles. 

In closing this chapter let me admonish my friends that it is 
no child's play to arrange a first-class amateur entertainment. 
On the contrary, there is a considerable amount of downright 
hard work about it. But if you buckle down to your task and 
have any natural ability whatever, the obstacles will rapidly 
decrease and soon disappear. Then, although none may be 
rare actors, all may be fair actors, which will satisfy every- 
body. 



CHAPTER VIII. 



REHEARSALS. 

IN the matter of rehearsals there are three rules of the utmost 
importance which should be committed to memory. 
Be on time. 
Be willing to learn. 
Be up in your lines. 

Observing the first rule will save a great deal of annoyance. 
It is exceedingly provoking to dance attendance on a careless 
actor who keeps the entire company waiting. Occasional 
delays are unavoidable. But lateness at rehearsals is the 
regular thing with many amateurs. It is boorish, ill-bred 
selfishness — something which no lady nor gentleman will be 
guilty of doing — to keep people waiting more than the cus- 
tomary ten minutes. Either be prompt or stay at home and let 
some self-respecting member have your part. 

The second rule applies to all amateurs, but especially to 
those who are about to make their first appearance. Thorough 
and exhaustive study is not to be expected, but general details 
must be mastered, which can be accomplished only by care- 
ful attention at rehearsals. But directions should be made 
solely by the stage manager. If you have a scene which you 
think can be improved, call the manager's attention to it. 
Don't undertake to "boss things" yourself or you will defeat 
your purpose and in addition make yourself justly unpopular. 
No amateur wants to be instructed by one who has had no 
more experience than himself. 

The third rule is imperative. 



34 



AMATEUR THEATRICALS. 



No effective rehearsing can be done untii one and all are 
letter perfect. Stumbling about for lines, forgetting cues, 
neglecting {i business " will invariably result in confusion, and 
therefore rehearsing under such circumstances is time thrown 
away. In this connection let us consider the best method of 
studying a part. It is a truism worth repeating, that nothing 
can be accomplished without application, and the amateur 
who lacks this quality will never be more than a " stick." 

The first thing to do in the way of study is to read the entire 
play through, slowly and carefully, two or three times. This 
is absolutely necessary. You will thus catch the drift of the 
story, the development of character and the relation which 
your part bears to the others. You should remember that 
concentration is necessary. You must give your whole mind to 
the work. Half-hearted study will not do. Therefore fix 
your attention with unwavering purpose to the object in view. 

Fix in your mind a conception of the character, and hold it 
constantly in view. This will aid you materially in giving a 
consistent rendering of the part. 

When you sit down to study your part, make a firm resolu- 
tion that nothing shall interfere with the task, and stick to it. 
Learn your part line by line, speech by speech. Don't 
neglect your cues, but master them as thoroughly as you do 
your own speeches. Review everything as you progress, 
and when you have the first act perfect then take up the 
second. Never leave a speech until you know that you have 
mastered it. Remember that one hour of steady application is 
better than half a day of idle drifting. 

If, in your part, you are required to read a letter aloud, learn 
it by heart. You will thus be entirely independent of the 
prompter, and will not be caught napping should you by mis- 
take receive a piece of blank paper. Moreover, it is difficult to 
read on the stage because of the glare from the footlights ; and 



REHEARSALS. 



35 



in a daylight scene how absurd it is to see a performer bend 
down to the footlights to read a letter ! 

Let us suppose that we have selected the comedy of ' ' Early 
Vows," and that the company is assembled at the appointed 
hour, all letter perfect and ready for business. Beginners 
ready ! Ting-a-ling. Up goes the curtain. Hold on, my 
dear Susan. Don't begin speaking until the curtain is well up 
and the music has ceased. Tut, tut ! Louder ! The orchestra 
couldn't hear you. Don't be afraid of your voice. Let it 
out. That's better. Bless my soul, Sampson, that won't do. 
When you say — 

<<Wha — wha — what's that? Swearing?" 
raise both hands. On the exclamation — 
"Oh, Susan! " 

drop your hands and go slowly left so that she can drive 
you right. That's immense. Now repeat the scene, please. 
Now we're getting on. Wait a moment, Sampson. When you 
exit with a side speech don't talk to the wings. Face the 
audience, and speak up. An " aside" is spoken but very little 
lower than ordinary. My dear Mr. Curtice, don't wander 
about so. Do be quiet. Louder, if you please, Miss Curtice. 
That's it. My dear Mr. Curtice, turn toward the audience, 
instead of away from it, and let the lapels of your coat alone. 
You must forget all about your hands and feet. You are doing 
splendily, Captain Winthrop, but really you must not read that 
letter from the book. It is a part of your lines which you 
must commit to memory. What is that, Miss Curtice ? Post- 
pone the love-making business until the night of the entertain- 
ment ? No indeed ! Please recollect that for the time being 
you are Miss Curtice and nobody else ; that you are to do 
exactly what the scene requires, and that the "love-making 
business " is an integral part of the play. Very well. If you 
won't rehearse properly we must find some one who will. Don't 



36 



AMATEUR THEATRICALS. 



want to make a fool of yourself? My — dear — young — lady ! 
If you consider love-making is foolish, you differ from all the 
rest of your adorable sex. Then you will rehearse ? Thank 
you. Now, Captain, don't stand at arm's length, and don't 
hug her like a bear, either. Stand with your right side to the 
audience, place your left arm around her waist — so — and take 
her left hand in your right, drawing both up to your breast. 
There. Now when you say — 

* ' This is comfortable ! ' ' 

the audience will agree with you. Bravo ! That was well 
done. Now proceed, please. Oh, stop, everybody ! That 
quarrel scene is all wrong. You should come to the footlights 
all in line, then back to the rear, and repeat. Let everybody 
talk at once. " B-r-r-r ! B-o-o-o ! Yes sir ! No sir!" 
That's it. Get up a regular whirlwind of excitement. Make 
people . laugh ? Of course. That's exactly what we want. 
Now try it. Ha, ha, ha ! You're getting the idea. 
And so on throughout the play. 

Whew ! Slow work, isn't it ? You have been at it for two 
hours, and the first act is not yet finished. The stage man- 
ager looks warm and worried, the company is cross and flur- 
ried, and everything appears at sixes and sevens. Your hands 
and feet are obstrusive, your exits and entrances are ill-timed, 
you speak too fast or too slow, you fidget about, your gestures 
are ungraceful — indeed, everything seems chaotic. But to- 
morrow things will go better and then you can see that you 
have really made some progress. 

If there is anything that will try the soul of man and the 
temper of woman more than a first rehearsal I have yet to dis- 
cover it. But with pluck, patience and perseverance the 
Rubicon is soon passed and the way henceforth is easy. 

I cannot condemn too strongly the habit of allowing the 
presence of outsiders at these rehearsals. It should be strictly 



REHEARSALS. 



37 



prohibited. Nobody aside from the company should be 
admitted under any pretext. No matter how kindly disposed 
these visitors may be, their presence is always annoying. It 
disconcerts the company, draws attention from the play, and 
consequently the rehearsal drags. Therefore it is best to make 
an iron-clad rule forbidding the admission of spectators at such 
times. 

Another thing ; the members of the company should keep 
silent except when actually rehearsing. Whispering, laugh- 
ing, chattering, in front or in the wings, interferes seriously 
with the stage work, and should be studiously avoided. 

The necessary properties should be on hand after the first 
or second rehearsal in order that the company may become 
familiar with them. This important matter is frequently 
neglected until the last moment, and some absurd makeshifts 
often result. You cannot give too much attention to these 
details, for it is on the sum total of little things that success 
depends. 

For a play of average length at least half a dozen rehearsals 
should be held, and twice that number will do no harm. 
Indeed, in plays marked by rapid action and complicated 
business — like "A Scrap of Paper" for instance — a dozen 
rehearsals will be none too many. No conscientious stage 
manager will allow a play to be presented until all are perfect 
in lines and business. And this perfection can only be 
acquired through steady, patient, earnest rehearsals. 

The final rehearsal should be a dress affair, with every detail 
of costume, properties, make-up and business carried out 
precisely as though playing before an audience. This is an 
absolute necessity, and in no case should be omitted. The 
groupings, tableaux, and minor details of business cannot be 
arranged without it ; besides this it will bring to light many 
errors more or less glaring which otherwise would pass 
unnoticed. On the professional stage dress rehearsals are 



38 AMATEUR THEATRICALS. 

considered necessary. On the amateur stage they are indis- 
pensable. 

If you attempt a play of exceptional difficulty, I advise you 
to secure, if possible, the services of a professional actor to 
rehearse your company. It will be a good investment. He 
will set you right in endless details which the most astute 
amateur stage manager would overlook. He will post you on 
numerous bits of stage craft, and show you how to work up 
situations of telling effect, which otherwise would pass 
unnoticed. He will make-up your characters properly, give 
valuable advice about costumes, and in short, tide you over a 
difficult performance, helping you win success where otherwise 
you would meet with almost certain disaster. This advice 
applies only in extreme cases. With ordinary plays a level- 
headed stage manager, backed by a willing, earnest, pains- 
taking company will be quite sufficient. But you must not 
shirk rehearsals, for it is only by this patient, steady work that 
successful entertainments can be given. 



CHAPTER IX. 



SOME ACTORS. 

THERE are actors and actors. 
Some are good, some are bad, and some are merely 
indifferent — the first grade being in a " vast minority " as a 
well-known manager once declared. 

A classification of these various grades is worthy of careful 
study by the ambitious amateur. 

First, there is the* careless actor who delivers his lines in a 
hit-or-miss — usually miss — manner, and who occasionally may 
come within a mile or so of giving the proper cue. If your 
business requires you to announce his coming, with many 
anxious glances off R. U. E., he usually comes strolling on 
L. i E., which of course is highly entertaining to the audi- 
ence. If he is required to rush in and seize the uplifted knife 
of the villain, he generally forgets all about it until the 
prompter refreshes his memory with a club. The chances are 
ten to one that he will forget to bring on the properties handed 
him by the prompter, and if he appears at the right moment or 
stands in the proper place on the stage it will show that the 
days of miracles have come again. Such is the careless actor. 
May his shadow grow beautifully less ! 

The argumentative actor is a well-known character. If you 
say that white is white he will undertake to prove that it is 
black. He agrees with nobody — not even himself. He will 
argue an inch off a million of miles, and split a hair a thou- 
sand times. He will prove by geometrical progression and 
the rule of three that you should gesticulate with the left hand 



40 



AMATEUR THEATRICALS. 



instead of the right, or the right instead of the left. No matter 
what you propose he at once advocates the opposite. Waste 
no words on him ; let him severely alone ; for he is a jackass, 
pure and simple, who can do nothing but kick. 

The officious actor, like the Admiral in " Pinafore," " means 
well, but he doesn't know." He is a good-hearted, pompous, 
bustling fellow, who will do anything to gain even the slightest 
notoriety. Give him an inch and he will take a couple of 
miles. He uses the pronoun "I" with much gusto, and 
apparently is buried at all times under a load of overwhelming 
responsibility. The broadest hints are thrown away upon him, 
for his hide is thicker than that of the horned rhinoceros. His 
finger must be in every pie, and will be too, so long as he 
remains in your company. 

The dictatorial actor creates endless trouble and is an 
unmitigated nuisance. His arrogance has no limit. He 
would instruct a Booth in tragedy or a Wallack in comedy. 
There is nothing shy nor retiring about him. He knows it 
all — in his mind — and wants that fact distinctly understood. 
He is usually the worst kind of a "stick" himself, but is 
blissfully unconscious of it. If you have the misfortune to 
admit such a member, the best you can do is to drop him 
without ceremony. While he remains there will be constant 
trouble which sooner or later will culminate in a general 
break-up. Get rid of him — gently if you can, forcibly if you 
must. 

The lazy actor is another ft terror." He is never on time, 
and never has his lines until the last moment. He keeps 
everybody waiting at rehearsals, and the long-suffering stage 
manager commits homicide mentally whenever he thinks of 
him. Usually the lazy actor has marked ability, and generally 
surprises everybody by his excellent acting on the night of the 
entertainment. Nevertheless, he is a thorn in the flesh since 
his lack of earlier application keeps back less favored members, 



SOME ACTORS. 



41 



who, lacking his natural ability, are the real victims of his 
sluggishness. Keep the lazy actor to his work ; refuse to allow 
him to rehearse until he is letter perfect, and you will cure 
him — unless he is way beyond redemption. 

The grumbling actor is an envious, disagreeable fellow, 
without a single redeeming quality. Nothing satisfies him. If 
he is left out in casting a play, it is because the rest are 
jealous. If given a part, it is unworthy of his transcendent 
genius. Don't hope to escape by giving him his choice of the 
characters, because in that case he will condemn the entire 
play. There is no pleasing him. If the house is light, he 
will growl at the empty seats; if it is packed, he will grumble 
at the crowd. If people do not applaud, he dubs them sense- 
less apes ; if they do applaud, he wishes they would stop their 
infernal racket. He is a bilious, uncomfortable hedgehog, with 
prickles always a-quiver. Such is the grumbling actor. 

The obstinate actor is twin-brother to the last named. This 
cheerful creature sulks instead of grumbling. If everything is 
made subservient to his own sweet will ; if nobody else ventures 
to have an opinion ; if he is made Grand Mogul of the entire 
organization ; all will go well : otherwise prepare for war. At 
rehearsals he is an especial bugbear. Every detail of business 
must be exactly as he wants it, or, like a little child, he €t won't 
play ! " Of course he must always have the best part, even, 
though he has not the histrionic ability of a clam. He will 
endure no criticism — not even the most respectful hint. The 
climax of trouble with this fellow is usually reached on the 
very night of the entertainment, when he appears with some 
brand new crinkle, and positively refuses to go on unless you 
yield to his whim. Then he has you at his mercy ; but if he 
catches you again it is your own fault. 

The restless actor is a sort of human teetotum, never at rest, 
but always on the whirl. It is almost impossible to make him 
stand still or sit quietly. His fidgety movements destroy many 



42 



AMATEUR THEATRICALS. 



effective scenes and unfit him for everything except an occa- 
sional low comedy part. He is usually the soul of good 
nature, and handy withal, so he may safely be cast for any 
trifling role in which there is little to do. 

The patronizing actor is something of a cad. His airs of 
bland superiority, covert sneers and overweening self-confidence 
are very trying to the nerves and tempers of most people. He 
will say that your acting is very fair, sir, very fair, but not 
quite the thing, don't you know. The business in that scene 
might be passable in a small town, and with a second or third 
rate club ; but really, it is not up to the standard, you see. 
That young lady, too, is quite clever, but really anyone of his 
experience would recognize the fact at once that she can never 
rise above mediocrity. He wants everybody to understand 
that he indulges in amateur theatricals only for mental relax- 
ation. Why, bless you, if he should devote the powers of his 
massive brain to things theatrical, he could have the lead in 
any theatre. But as the field is already well filled, and as 
there are some fairly decent actors among the professionals, he 
does not wish to encroach ! And so on, ad nauseam. Small 
wonder that he is unpopular. 

The excellent actor ! What a pleasure it is to think of him, 
and what a pity it is that his name is not legion ! He is the 
joy of the stage manager's heart, for he accepts his alloted part 
without grumbling. He recognizes the fact that whatever is 
worth doing at all is worth doing well ; so he studies his part 
with the utmost care. He strives to grasp the author's mean- 
ing, to gain a clear conception of the character, and thereby 
give a finished, consistent rendering of the role. He masters 
the text at the earliest possible moment, and is letter perfect at 
rehearsals. He attends to his own affairs, interferes with 
nobody, listens carefully to the stage manager's instructions 
and carries them out in detail. He is polite, courteous, oblig- 
ing, and always seeking to improve his work. He makes it a 



SOME ACTORS. 



43 



matter of duty to attend every rehearsal, and arrives promptly 
at the appointed hour. During rehearsals he attends strictly 
to business, indulges in no " skylarking," and strives to do as 
good work as though the lights were on and the auditorium 
packed. His make-up and costumes are correct, and he plays 
to not at the audience. Every club has its excellent actor, 
and the pity is that each member does not belong to his class. 

The ladies — but here, bless their dear hearts, the pen of 
criticism loses its point. Yet, as a work of this sort must be 
thorough and impartial, I shall have to refer to their little 
foibles, though I do write with a club. 

The talkative actress insists on exercising her vested rights 
in and out of season. She chatters in the wings, in front, and 
on the stage. She annoys the other characters, irritates the 
manager, and drives the prompter to the verge of distraction. 
Her nimble tongue causes her to forget her own lines, entran- 
ces and business, and prevents others from remembering theirs. 
A change of costume for her invariably means a stage wait, 
for, bless your heart, she cannot dress and talk at the same 
time — and really she must talk, you know ! Looks and hints 
are thrown away upon her, for she is unconscious that she is 
inciting a riot ; and as nobody wants to be severe with such 
a delightful little chatterbox, they all grin and bear it. 
Finally, in desperation, the stage manager "puts his foot 
down," whereupon she "gets her back up," there is a 
flourish of dainty cambric, tears, criminations and a regular 
"old time" all around. There is no danger of ennui in a 
club where she holds forth. 

The giggling actress is worse yet. She remarks " te he ! " 
and chews gum with equal volubility. This young woman 
takes nothing seriously. She would consider Hamlet 's inter- 
view with the Ghost excrutiatingly funny, and would giggle 
approvingly during the death of Little Eva. In spite of her 
pertness she has no versatile qualities and is always the same 



44 



AMATEUR THEATRICALS. 



ill whatever she undertakes. She can be trusted with nothing 
but the most outre soubrette roles, and not even then if she 
is required to be on the stage during any serious business. 
The stage manager may plead, argue, storm or threaten ; but 
it will do no good. Her case is hopeless. She will giggle, 
and she will chew gum. And that settles it. 

In contradistinction to the above we have the tragic actress, 
who imagines herself an embryo Anderson. She pitches 
her voice at the deepest alto, on and off the stage, and fairly 
jars her back teeth whenever she speaks. Being built on a 
generous plan she longs for heroic roles, and is the bane of 
the manager because of her anxiety to do Catharine or Lady 
Macbeth — characters in which she would be an utter and 
ridiculous failure. She is usually the worst " stage struck " 
member of the company, and nothing short of a trial on the 
professional stage will cure her of her folly. When she learns 
by bitter experience that there is no royal road to acting she will 
either give up in disgust or by pluckily sticking to her task 
climb to fame by the common ladder of all-around work. 

The vain actress is the most troublesome of all, and any 
club burdened with such a one has my heartfelt sympathy. 
Her silly affectation would be amusing if it were not annoy- 
ing. Her airs and graces outshine those of old John Mac- 
Bride's famous daughter; and, like that celebrated damsel, 
she would have you to know that you " do yourself an honor " 
whenever you request her to assist in your plays. When she 
takes a part — and you may be sure she never lets a chance go 
by — it is always done with an air of the greatest condescension. 
She takes particular pains to let people know that it is a special 
favor on her part which she grants only because you could 
find nobody else who could do the character justice. It would 
show lady-like qualities and good breeding to be prompt at 
rehearsals, therefore she is always late ! And during rehear- 
sals she makes everybody uncomfortable by her endless whims. 



SOME ACTORS, 



45 



Her costumes are whatever her own sweet will dictates, no 
matter how widely they may differ from the directions of the 
stage manager, or even from the author himself. Her insuf- 
ferable pride effectually prevents her from accomplishing any 
really good work in the ambitious roles which in her egregious 
vanity she insists on attempting. Her disagreeable qualities 
are such that it is a relief to forget her. 

The excellent actress is charming. She has all the good 
qualities of the excellent actor, combined with womanly tact, 
grace and wit. She is always prompt and ready ; always kind, 
thoughtful and willing. She does her best whether her role 
may be lead or utility. She works for general more than 
individual success, and is happily free from every trace of 
envy, spite or vanity. She is a prime favorite on and off 
the stage and bears her honors with a proper spirit. 

The above characters are not imaginary. They represent a 
few of the many types which I have met time out of mind 
during my theatrical experience. If my remarks in certain 
cases seem harsh, please remember that, being true, they are 
just ; and that in every instance the characters described are 
taken from life. If the cap fits any reader I advise that it be 
worn faithfully, to the end that wisdom may be gained, faults 
eradicated, and the ranks of the " excellent" class swelled to 
repletion. 

Such is' the purpose of this chapter. 

And now, having done theorizing, I will return once more 
to practical matters, and consider the great question of "act- 
ing," in all its numerous forms. 



CHAPTER X. 



ON ACTING. 

THE great principles of acting never vary. The art of 
concealing art follows the same lines in farce and in 
tragedy, because the true actor has the chameleon -like quality 
of blending his own personality with surrounding objects. 
Anyone who has seen Edwin Booth in " Henry VIII." and 
"Taming of the Shrew" will appreciate this. In the first he 
is Wolsey — the grave, dignified, proud, revengeful and ambiti- 
ous Cardinal — full of mighty schemes and vast enterprises : 
a smileless man, merciless in his hate, limitless in his 
greed, but magnificent even in the end of all his greatness. 
When the curtain again rises, he becomes Petruchio — that 
merry, reckless dare-devil — unique, surprising, who has no 
fellow among the mighty bard's creations. Listen to his merry 
quilp and jest. See him bully his servants, his friends and 
his wife. Observe the fact that you are at all times in his 
confidence. You know that his swash-buckler style is assumed, 
and that in reality he is a gentleman masquerading. Yet in 
spite of all this you are amazed at the apparent naturalness of 
voice, look and gesture. You strive in vain to find a single 
trait of the lordly Cardinal of an hour ago. This, then, is 
the triumph of genius — the acme of histrionic art. His own 
personality disappears, and for the time being he is to all 
intents and purposes another man, swayed by different 
emotions, changed in actions, looks and voice. 

Although no amateur can expect, with his limited cppor- 



ON ACTING. 



47 



tunities, to sink his own personality in this manner, yet he can, 
if he will, give consistent, natural renderings of such characters 
as come within the scope of his powers. 

The whole art of acting is summed up in the two words — 
action and expression. 

The two are so closely interwoven that at times it is impos- 
sible to separate one from the other. Yet there is a distinct 
difference between them which is more clear when I say that 
action conveys the idea of force, expression that of feeling. 
Othello's wild outburst which culminates in dashing /ago to. 
the ground is typical of the former, while his splendid solilo- 
quy — << Put out the light" — in its quiet, awful intensity shows 
the greatness of expression. 

Muscular actors, of the Forrest school, depend chiefly upon 
action for effect. But nowadays more study is given to 
expression. This is particularly true of the modern society 
play — which, some critics assert, contains no opportunities 
whatever for acting. 

One grave fault with many amateurs is that they gesticulate 
too much — especially with the forearm. Gestures, when made 
at all, should be free and bold. An excellent way to acquire 
this full arm movement is to practise before a large mirror. 
This will not only serve to check all clumsy, awkward half 
gestures, but will give you some excellent ideas of facial 
expression. 

The smaller your part the greater study you can give it. I 
am aware that many amateurs foolishly look upon such a part 
as unworthy of attention, and if played at all it is in a half- 
hearted, perfunctory manner. This is silly ; nay, more — it is 
unworthy of yourself, your company and your audience. You 
have no right to slur any character, especially a small one. 
A seemingly trifling role may be made, by careful elaboration, 
to stand out as one of the most important features of the play, 



4 8 



AMATEUR THEATRICALS. 



winning you far more praise than you would get in a more 
ambitious but less carefully studied part. 

When you have mastered your lines and thoroughly under- 
stand the general scope of the character which you are to rep- 
resent, you should then set to work to make the role distinct- 
ively your own — fitting yourself to it like a glove, Suppose it 
is a servant ; the lines will indicate whether he is artful, sly, 
honest, dishonest, impudent, respectful, bright, stupid, quick, 
slow, etc. ; then, whatever his characteristics may be, strive 
to put them on as you would an overcoat, entirely concealing 
your own nature however opposite it may be. Endeavor lit- 
erally to " step into the shoes" of whatever character you 
assume, for in that way alone can you hope to give a smooth, 
finished performance. Remember, too, that every word and 
movement are important, as they serve to develop not only 
your character but likewise that of the play. Therefore, 
nothing, however trivial it may appear, should be lightly 
passed over. The chief delight in an amateur entertainment 
is not in the superior work of any one member, but in the gen- 
eral excellence of the entire company. 

If every actor would commit to memory Hamlef s advice to 
the players and take that advice to himself, there would be 
fewer marionettes on the boards. ' 'Suit the action to the 
word, the word to the action!" How simple, and yet how 
few do it. On rare occasions the action precedes the words. 
Macbeth clutches at the visionary dagger before he speaks, 
and Cassius indulges in considerable business before com- 
mencing the famous quarrel with Brutus. Occasionally the 
action and words are simultaneous, as when Richelieu^ in his 
defense of Julie, hurls defiance at his shameless king. But 
in the great majority of cases, action follows the words. The 
necessity for this lies in the fact that it enables the audience 
fully to comprehend the meaning of the words. Macbeth 's 
frenzied cry 11 Lay on, Macduff ! " is the signal for the mighty 



ON ACTING. 



49 



struggle in which his life and fortune are wrecked. Action 
must be neither forced nor constrained. It should be at once 
decided, bold and vigorous, remembering at all times to vary 
the degree of intensity according to character and surround- 
ings. What might be a trivial action in one scene, would be 
powerful in another. When Sir Edward in the " Morning 
Call " lifts the handkerchief from the face of Mrs. Chillington, 
it causes unalloyed merriment ; but the effect is far different 
when Ruy Bias picks up the handkerchief of the haughty 
Don. In any scene of intense interest the action should rise 
gradually to the climax where it may burst out with a force 
and fury which at another time would be simply ludicrous. 
Never pose nor attitudinize. It is stilted, affected and unmanly, 
and is indulged in only by simpering idiots of the " lady-kill- 
ing ' ' type of actors. It stamps the actor as a brainless egotist, 
and justly holds him up to the ridicule of all sensible people. 
Don't hurry the action. At times, of course, you must be 
quick and vigorous ; but always allow the necessary time for 
by-play and business. 

Pay especial attention to the fact that you are playing to the 
audience instead of at it. Your business is with the people on 
the stage and not with the people in the audience. Your 
interests are entirely with the former ; you have nothing in 
common with the latter. Ignore, then, their presence as com- 
pletely as if they were mere shadows. Bury yourself in your 
part, and strive to be in fact the character whose name you 
bear. Your success in this will mark your success in acting. 
You must not forget, however, that the stage is the frame of a 
living picture of which you form a part. Therefore your 
every act should be rendered with this object in view ; that all 
you say and do be so clearly accomplished that the audience 
will at once grasp your meaning. This necessitates clear and 
correct delivery, gestures, business and by-play. In this con- 
nection I cannot condemn too strongly the habit — which I 



AMATEUR THEATRICALS. 



have observed among both professional and amateur actors — 
of " holding the stage" at the rear; in other words, of 
remaining up the stage and forcing others to turn their 
backs to the audience. It is a selfish, or at least a thoughtless 
action, which sadly mars the beauty of the scene, although it 
may draw undeserved attention to the offending person. Keep 
well down the stage unless the action of the play requires 
your presence elsewhere. 

Amateurs will hardly care for a profound analytical criti- 
cism on the art of acting. Yet every amateur will find cer- 
tain accomplishments necessary in order to give a finished 
representation of any character. These should be carefully 
studied and thoroughly mastered. Mind you, I do not pre- 
tend that any book, be it never so complete, can make you an 
actor. It can, at best, only point out the right course, and 
perhaps keep you from straying into that rocky road of " high 
art " where you are certain to stumble and fall. 

People of education and refinement — and I take it for 
granted that all amateurs belong to this class — have usually all 
the qualifications necessary for doing " society characters," — 
such, for instance as appear in some modern " farces," where, 
instead of acting, the characters do nothing but sit, or stand, 
or loll, and talk, talk, talk. In pieces of this sort society 
people, having even the faintest idea of stage craft, can make 
a very creditable showing. 

Most amateurs know something of music, dancing and 
French ; and the more one is skilled in these polite accom- 
plishments the better it will be. A knowledge of both vocal 
and instrumental music is especially desirable. I recollect 
that the late Mr. Wallack was once required to sound a call on 
the cornet. Now the divine John Lester could roar out a 
song with the best of them, but alas, he could not play the 
cornet. So he had his cornetist, a fat-witted German, stand 
in the wings ready to "toot" at the proper moment. Mr. 



ON ACTING. 



51 



Gilbert stood beside him and when Wallack placed the cornet 
to his lips he turned to him saying : 
"All ready!" 

"Eh? Vot you say, eh? " inquired the Teuton. 

' ' Blow your confounded horn ! ' ' 

" Ven shall I plow him, eh? " 

" Now, you ! " roared Gilbert. 

"So?" and out came the notes. Meanwhile Mr. Wallack 
had put down the cornet remarking that it was out of order. 
Just then the German's cornet sounded, and the house was 
convulsed. 

Singing is absolutely necessary in many plays, and the actor 
who cannot vocalize will be barred from many good parts. 

Dancing is such a general accomplishment that I hardly 
need mention it here further than to say that the amateur who 
cannot dance should learn to at once as he will frequently have 
need of the art. 

French, at least a smattering of the language, is exceedingly 
useful. It will prevent numerous awkward slips and blunders ; 
and surely nothing grates upon the ear of an educated person 
more than to hear some familiar French word or sentence 
cruelly butchered. 

Fencing, which has no equal as a graceful exercise, is prac- 
tically unknown in this country except in the larger cities. It 
is an art that should be cultivated, for, aside from its health- 
fulness, it is essential to numerous plays. Sword play on the 
stage is done entirely for effect ; therefore a few lessons from 
a skillful teacher will give you enough rudimentary knowledge 
for all practical purposes. You will have no occasion to rival 
the splended swordmanship of Mr. Booth ; but you should learn 
that the weapon is not held like a jack-knife, that you do not walk 
astride the scabbard, carry the blade under your arm nor seize 
it with both hands when you make a lunge. 

The proper management of the voice requires special con- 



52 



AMATEUR THEATRICALS. 



sideration. Gestures and facial expression will do for panto- 
mime, and are valuable aids in drama. But in the latter, 
vocal expression must have precedence. 

Actors always read their lines — first from the book or manu- 
script, and afterwards from memory. Speaking differs from 
reading inasmuch as it is spontaneous, and therefore unstudied. 
And here again the art of acting appears ; for the accomplished 
actor delivers his lines in a natural, unstudied manner, 
which forces the listener to believe that the words are 
uttered on the spur of the moment. Thus illusion becomes 
realism, and the art which produces the effect is not observed. 
But mere elocution must not be confounded with acting. One 
may recite " The Vagabonds," " Little Hero," " Ostler Joe " 
or " Aux Italiens" superbly, and yet be a most inordinate 
" stick " as an actor, A recitation may be fiery, impassioned, 
bold, descriptive, grave, gay or pathetic; but it is influenced 
by no surrounding objects, there is no illusion, and conse- 
quently only a surface effect, a mere wave ripple, is produced. 
Yet a knowledge of elocution is beneficial provided one can 
apply it. 

To deliver well one must thoroughly understand the con- 
struction of sentences, together with the meaning and effect 
of pauses, inflection and emphasis, in order that sound and 
sense may not be hopelessly jumbled. 

In considering the value of pauses — the comma, semi-colon, 
period and the like — you cannot be governed by any fixed 
laws of punctuation or grammar. The voice may dwell on a 
comma ; it may or may not fall at the period ; and it may 
rise, fall or dwell on the interrogation point. The latter, 
indeed, is a stumbling-block over which the unwary often 
trip. This mark may be at the end of a long sentence, only a 
part of which is interrogative, and if the rising inflection is 
sustained throughout, it is wearisome alike to speaker and lis- 
tener. Generally speaking the voice rises when a favorable 



ON ACTING. 



53 



answer is expected ; but, if the questioner expects an adverse 
answer, the voice falls. 

Inflections are used to convey a host of different meanings. 
They are either rising, falling, or compound. The upward 
inflection has reference to some question, entreaty or disbelief; 
the downward inflection refers particularly to command or 
assurance. The compound inflection is a combination of the 
two. Thus, the rising : "Is it yours ? " The falling : " It is 
not." The compound: " Give it up, or I shall force you." 

Emphasis, which is allied to inflection, gives strength and 
variety to what otherwise would be dull, commonplace mono- 
tone. It requires nice handling, since it may be made to con- 
vey a great variety of different meanings. Thus : 

" You said that? " 
indicates surprise, doubt or wonder ; while 

" You said that?" 
shows contempt at saying instead of doing. 

•'You said that?" 
indicates either amusement, admiration, curiosity or anger as 
the case may be. 

I have no intention of furnishing a complex set of oratorical 
rules, since they are always confusing and misleading. Arch- 
bishop Whately's rule, "Be natural," is the simplest and 
best. Yet naturalness is the result of art, since art copies 
nature. When an actor is simply himself he may be natural 
enough so far as his own individuality goes ; but in that he 
deserves no credit, for he displays no art and does no acting; 
he merely gives a parrot-like rendering of familiar words, and 
as he is in one play, so he is in all. 

The voice undoubtedly requires cultivation. But as the 
amateur actor will find a severe course of study impracticable, 
I will limit myself to a few necessary observations. In the 
first place, it is better to speak too loud than too low ; and the 



54 



AMATEUR THEATRICALS. 



voice should be pitched in a key slightly higher than that of 
the ordinary conversational tone. You will find upon trial 
that it is much easier to lower than to raise the key. The 
acoustic properties of theatres vary to a great extent and I 
have often been forced, when acting on a strange stage, to 
pitch my voice at a higher key in order to fill the auditorium. 
Practice then, from the outset, in a moderately loud and high 
voice. The ordinary drawing-room tone would be inaudible 
beyond the front rows of even a small theatre. Don't fear to 
" speak up." If you should attend a rehearsal at any regular 
theatre you would imagine that the actors were shouting ; yet 
at night, before a full house, their voices sound easy and 
natural. Clearness of enunciation is better than mere volume 
of sound. Ranting and roaring produce much sound and lit- 
tle sense — a fault to avoid carefully. If you have a bit of 
intense work, don't ruin it by "tearing a passion to tatters." 
Noise is not power. The thunder rolls and rattles, but the 
deadly lightning is silent. Restrained emotion is at times far 
more effective than the most violent outburst. The late 
Charles R. Thorne had no equal in this. The tremendous 
scene which ends the fourth act of "Led Astray" culminates 
in the words: 

" Shame for shame — we are quits ! " 
Mr. Thorne, as Count Rodolph, was in the habit of speaking 
these words in a stage whisper; and yet so great was the inter- 
est and so fixed the attention that every breath was hushed 
and every ear strained to catch the words, which seemed to 
float to the topmost gallery seat. 

Repose in action is always necessary to a finished perform- 
ance. It preserves the unity of impression without which you 
seem to be doing exactly what you are — acting; and that is 
precisely what you, of all things, want to avoid. Take the 
necessary time for your words, action and business, so that 
the audience can grasp the situation and understand the nature 



ON ACTING. 



55 



of the scene. This they cannot do if the words are rattled off 
at express speed, and business and by- play confusedly mixed. 

Never interrupt another unless it is so indicated by your 
lines. Allow the person addressed to finish before you speak. 
Consider the laws of good society in this respect, and act 
accordingly. You know what he has to say but your auditors 
do not, and any feverish anxiety on your part to speak makes 
the scene mechanical. 

In playing comic parts you should be careful to avoid 
exaggeration, lest you make the character a burlesque. Quiet 
humor is always more effective than noisy mirth. Rare old 
John Gilbert, with his suppressed mirth, would convulse an 
audience, and Stuart Robson's guileless innocence is a sover- 
eign remedy for the blues. It is characteristic of all great 
comedians that they never descend to mummery. The amateur 
comedian, in his eagerness to win a laugh, frequently overdoes 
it and excites derision instead of mirth. Too much color in 
acting, like too much paint in " making-up," destroys the 
effect. Farcical characters are more elastic and will bear a 
certain degree of exaggeration j but even in farce — unreal and 
ridiculous as it is — Nature must not be entirely ignored. In 
comedy we see life as it is, with its love, faith, hope, hypoc- 
risy, greed and pessimism ; in farce we deal entirely with 
imaginary circumstances in which motives and actions are 
more or less distorted. Thus caricatures are allowable so long 
as they are not absolute distortions. 

As I have previously observed, pathetic roles are exceedingly 
difficult to handle. Such a character must be done with the 
utmost nicety or it will arouse laughter instead of tears. 
Pathos requires close application, in addition to the natural 
gift of feeling what you say. One of Brierlf s speeches in 
the " Ticket-of-Leave Man " runs as follows : 

4 ' Go home, my lad — go home with her — be a son to her — 
love her as she has loved thee. And when you're a man 



56 



AMATEUR THEATRICALS. 



grown, and her chair at the chimney-corner is empty, you 
may, perhaps, remember this day, and be thankful you took 
the advice of poor, hunted-down, broken-hearted Bob Brierly." 

Let any amateur with a penchant for pathetic business try 
the above, and I warrant he will find that the " tearful" voice 
will not come at his bidding, and that he will understand why, 
in doing Brierly, I found this speech more difficult than all 
the others. No amateur who has made any reputation as a 
comedian should, under any circumstances, attempt to play a 
character of this sort. People expect him to be funny, and 
will insist that he shall be funny whether or no. 

Ladies as a rule have quicker perception and livelier sympa- 
thy than the " lords of creation." Add to this an innate 
ability to dissemble successfully, a livelier imagination, and 
we readily see why, in society plays at least, they outshine the 
sterner sex. In plays where serious or pathetic work is 
required, the suggestions previovisly made apply equally well 
to both sexes. Ladies whose forte lies in comedy should cul- 
tivate the gift. Tears may excite our sympathy, but we like 
best the girl who brings sunshine instead of shadow. We 
soon weary of the unhappy Hermione, but we never tire of the 
merry Perdita. But ladies who do comic parts cannot always 
' 1 look pretty." Belinda in " Our Boys" wears a shabby 
gown and torn apron ; her hands and face are dirty and she 
has a generally " mussed up" look. The character, however, 
is uproariously funny, and is sure to make a hit if the young 
lady who does it has more artistic pride than vanity. 

In conclusion, let me advise you to study people as you study 
parts. Observe the habits and peculiarities of your acquaint- 
ances, and you will discover many choice bits and tricks of 
voice and gesture which may be worked into your parts with 
excellent effect. 



CHAPTER XL 



THE PASSIONS. 



one can hope to act well without knowing how to repre- 



1 \| sent the various feelings by which the mind is influ- 
enced. The principal dramatic passions are admirably illus- 
trated in 1 * Collins' Ode on the Passions ' ' which I advise 
every amateur to commit to memory, and recite before a large 
mirror, carefully observing the effect. Too much study cannot 
be given this branch of the dramatic art. It is not enough to 
know that we frown when angry, smile when pleased, and 
elevate the eyebrows when surprised. We must consider every 
look, gesture and modulation of voice which accompany the 
emotion, and strive to express them as we would do in real life 
under similar circumstances. In this way alone can we avoid 
the extremes of over-acting on the one side and tameness on 
the other — errors alike fatal to artistic work. No correct 
representation of emotion can be given unless you are en rap- 
port with your assumed character — opening your heart and 
actually feeling its joys and sorrows, hopes and fears. You 
cannot express what you do not feel. If you have no feeling, 
you will make a very poor actor ; if you have no expression, 
you will make no actor at all. 

It is obviously impossible to arrange a play by rote to emo- 
tions as the words of a song are set to music ; yet as there can 
be no music without harmony, neither can there be acting 
without emotion. 

I submit herewith a critical review of the greater and lesser 




58 



AMATEUR THEATRICALS. 



passions, showing, so far as mere words can do, the best 
methods for giving them expression. 

Anger is always indicated by excitement, either suppressed 
or boisterous — usually the latter • rapid speech, harshness, a 
loud voice and frequent interruptions are noticed ; the body 
bends forward, the head is shaken or nodded in a threatening 
manner, the eyebrows are drawn down, the forehead scowls, the 
eyes glare, the mouth is open, showing the teeth, and the 
whole facial expression is hard and savage, the degree varying 
with the intensity of feeling j the breast heaves, breathing is 
strained, the fist is raised in a threatening manner, and if the 
fit of anger is intense the whole body fairly quivers with rage. 

Anxiety is shown by nervousness, quick speech, strained 
attention, drawn eyelids and marked uneasiness ; the actor is 
restless, strides about hastily and stops abruptly ; the voice is 
variable f sometimes it is a mere whisper, and again it is loud 
and shrill. 

Attention requires a steady position, a thoughtful, intent 
look, with eyes fixed upon the ground or raised in an inquiring 
but respectful manner to the speaker. 

Admiration differs with the object ; if of a person, it shows 
esteem and wrapt attention ; there is a desire to please, and 
the entire bearing is that of fond respect. If the object is 
other than personal the tone is loftier, more rapturous, and not 
unmixed with wonder. 

Affectation is an art in itself, as.it often dominates a char- 
acter throughout an entire play, as, for instance that of bravery 
by Bob Acres in "The Rivals." Affectation of youth, as 
Beau Farintosh in " School," apes the costumes and manners 
of young men, endeavors to be sprightly, forgetful of rheuma- 
tism and stiff joints, commits endless blunders through defec- 
tive hearing and vision, and makes the person ridiculous in a 
thousand ways. Affectation of culture leads to many laugh- 



THE PASSIONS. 



59 



able errors, as when the ' 1 critics " in ' 1 Peg Woffington ' ' show 
their ignorance. Affectation of great learning, such as that of 
Dr. Pangloss in the * ' Heir-at-Law " gives a pompous, egotis- 
tical bearing to the person coupled with much asinine gravity 
and slowness of speech. Do not mistake affectation for pre- 
tense. In " London Assurance " the elder Courtley is all affec- 
tation, while the ministerial bearing of the younger Courtley 
in the fourth act is all pretense. Both affectation and pretense 
should be slightly overdrawn, as they are caricatures of nature 
and must be so represented to be at all effective. 

Arguing, without excitement, is conducted in a cool, unim- 
passioned manner, the gestures being few and simple, the 
voice calm and clear ; if heated, the argument becomes live- 
lier, the voice rises, the gestures are emphatic, the action 
excited and quick. 

Authority requires a firm, decisive tone, a touch of pride 
and, in some cases, of arrogance ; the body is held erect, and 
gestures should be very rarely used. 

Affirming, as on oath, is done either standing or kneeling. 
The hand and eyes are raised, the voice is slow and impressive. 

Boasting requires an egotistical, self-sufficient air of vast 
superiority ; the walk is a swagger, the voice loud and con- 
temptuous ; if of affected courage, as in a quarrel, the voice is 
loud and threatening, accompanied by great bluster and blow ; 
the gestures are overdrawn, everything being done to frighten 
the opponent into believing that the boaster is a dangerous man 
instead of a bully and a coward. 

Commanding shows an erect figure, head well up, voice and 
gestures quick, firm, decisive as if admitting of no contradic- 
tion • the bearing is that of conscious power and should be 
graceful and dignified. 

Courage is much like commanding except that the gestures 



6o 



AMATEUR THEATRICALS. 



are fewer and the speech is slower ; the look is calm, steady 
and bold, the voice strong and clear. 

Condemning, if angry, like Parkhurst in " The Woven 
Web," assumes a severe look, the tone is sharp, the bearing 
stern ; the hand is raised, fingers pointing at the person 
addressed, brows drawn, and lips compressed ; if in sorrow, 
(Gifrson, in i ' Ticket- of- Leave Man") the voice is grave, but 
firm, and not unmixed with pity. 

Curiosity has a lively, expectant look ; the eyes are opened 
widely, lips parted — the entire bearing thatof pleased attention. 

Defiance is uttered in a loud, ringing voice accompanied by 
quick, impetuous gestures. The tones are high and rapid, the 
attitude bold and fearless. 

Denial is uttered in grave, measured tones ; the left arm is 
crossed over the bust, the right hand, with open palm, is 
directed toward the person addressed, and the face is turned 
away. 

Despair, like anger, varies with the depth of feeling which 
you are required to portray ; if utterly hopeless, as when Shy- 
lock hears the final judgment rendered, the head sinks upon 
the breast ; the forehead is clouded, the teeth set ; the hands 
are clinched, and the arms, at first bent at the elbows after- 
wards hang listlessly at the sides, while the whole figure seems 
to droop and lessen ; if joined to desperation, such as Richard 
TIT feels in his battle with Richmond, the appearance is that of 
incarnate fury \ the head is bent forward, the eyes stare, the 
upper lip is drawn back, showing the teeth, while the voice is 
a wild, passionate scream, like that of some fierce, maddened 
animal. 

Desire is expressed by bending forward, and reaching out 
with the hands as if to grasp the desired object ; the look is 
half-smiling, but eager, and sometimes covetous ; the voice is 



THE PASSIONS. 



61 



cheerful but slightly doubtful, and the tones though rapid are 
broken by frequent pauses. 

Death is very dificult to exhibit properly unless it be instan- 
taneous ; and even then the death-fall is a trick requiring a 
vast deal of practice. Death may be slow, as in ff Hamlet," 

, or sudden, as in " Othello ; " and a comparison of Mr. Booth's 
methods in the two plays will be of special interest. In Othello 
death is supposed to result from a self-inflicted dagger thrust. 
In Mr. Booth's portrayal there is a frightful, convulsive shud- 
der, a choking gasp, and then a dead, silent fall, without 
rebound or contortion. Othello dies instantaneously, and all 
motion ceases the instant that the blow is inflicted. Hamlet 
dies from the prick of a poisoned sword. His death therefore 
is slow, compared to that of Othello, and is accompanied by 
terrible suffering. Mr. Booth presents this with awful realism. 
There is rage, madness, inarticulate cries, a quivering of the 

. limbs, a clutching at the throat, blindness, convulsion and 
death. 

Envy has a spiteful, malevolent look ; the tone is sneering, 
the voice ratjier high, the attitude strained and contemptuous. 

Fear, if combined with sudden surprise, draws down the 
eyebrows, opens the mouth, and gives the whole figure a wild, 
startled look ; the elbows are pressed to the sides, hands 
raised, palms outward, as if to ward off danger, while the knees 
tremble and the body shrinks away from the dreaded object ; 
comic fear, as in farcical plays, is simply a caricature of the 
real sensation, and is shown by exaggerated gestures, chattering 
teeth, halting speech, ridiculous cries and protestations. 

Fatigue is shown by an appearance of general weariness in 
the whole body ; the head droops, the arms hang down, the 
feet shuffle rather than walk, and the voice is weak and fal- 
tering. 

Folly, as seen in stupid or clownish characters, gives the 



62 



AMATEUR THEATRICALS. 



face a dull, vacant expression ; the insolent stare of the lout, 
and the silly grin of the zany are characteristic. 

Fainting should be done quietly ; all movement ceases and 
the person sinks down limp and helpless. 

Grief, if sudden, may arise from a variety of causes, such 
as death of friends or relatives, loss of property, or misfortune 
of any sort j it is frequently a complex passion, being mixed 
with rage, hate, resentment and the like ; hence it is exceed- 
ingly difficult to represent properly. Sudden grief may be 
shown by clutching at the hair, catching the breath, wringing 
the hands, weeping, raving, sobbing, passionate entreaty or 
fierce denunciation ; Shylock's grief at the flight of Jessica is 
a splendid illustration of this complex passion. 

Gravity is seen best in an air of quiet dignity ; there are no 
gestures ; the carriage is upright, firm, and somewhat authori- 
tative ; the speech is slow and clear, the tone moderate and 
steady. 

Gratitude shows an aspect of joy and satisfaction ; if the 
favor is extraordinary — such as granting life or liberty — the 
face lights up with effusive joy, the knee is bent, and the right 
hand pressed upon the heart, in token of sincere feeling. 

Hope differs from mere desire in this — that desire longs for 
something, but doubts the fulfillment of its wish ; with hope 
there is very little doubt and no anxiety. Hope gives the 
countenance a bright and cheerful look ; the eyes sparkle ; the 
lips are parted in a half smile ; the body leans slightly for- 
ward, arms spread, hands open, and the voice has an eager, 
happy ring. 

Hate is usually a single passion, though sometimes mingled 
with fear or anger ; but the latter are sudden passions, while 
hate is always deep-seated. Richelieu is angry at Mauprat, he 
fears the conspirators, but he hates Baradas with all his soul. 
Hate, if unaffected by other passions, is intense, bold, provok- 



THE PASSIONS. 



63 



ing and domineering ; the gestures repulse, the hands are 
clinched, the eyes flash, the voice is harsh and loud, the tone 
chilling, unequal and surly. 

Hypocrisy should never be self-evident ; in the presence of 
others the hypocrite is apparently an open-hearted, frank, gen- 
erous, upright gentleman * among his friends " honest Iago " 
seems to be a prince of good fellows and the soul of honor ; 
he carries out this deception until the last, and it is only in his 
soliloquies that the mask is withdrawn. 

Impudence is brisk, lively, and totally unconscious of any 
person's starch and dignity ; indeed, this trait is best seen in 
plays where these extremes meet. In " London Assurance " 
for instance, Dazzle' s refreshing impudence is a pleasant foil 
to Sir Harcourf s arrogant pride. Never let impudence be 
overdone, or it becomes buffoonery and the effect is spoiled. 

Intoxication varies according to nature. Some men get 
" fighting drunk," some are silly, some jolly, others brutal. 
In comedies and farces drunken characters are invariably 
comic ; the eyes leer, the movements are uncertain ; speech is 
broken by hiccoughs and the words are jumbled ; mock 
gravity or dignity is often a feature. Most actors overdo a 
drunken scene, burlesquing parts which really require the 
nicest handling to be effective. In some cases — notably, the 
drunken scene in " David Garrick," where the great actor 
pretends to be intoxicated — caricature is permissible ; but 
otherwise it should be strictly avoided. 

Infirmity, as of old age, is seen in shrunken cheeks and 
hollow eyes, deafness, poor eyesight, trembling limbs, unsteady 
walk and considerable coughing \ the voice is a shrill, childish 
treble, often tart or peevish. 

Joy differs from contentment in being a sudden transport, 
as of hope realized ; it is indicated by glad cries, clapping the 
hands and dancing about, as if beyond restraint ; the counte- 



64 



AMATEUR THEATRICALS. 



nance is smiling and excited, the voice uneven, the tones fre- 
quently loud and high. 

Jealousy is perhaps the most difficult of all the passions to 
portray j it is a medley of emotions all at variance with one 
another, and all of which must sway the mind in turn ; the 
changes, too, are abrupt, ranging from the greatest joy to the 
deepest woe. Jealousy is made manifest by restless move- 
ments, pondering, anxiety, discontent and peevishness ; now 
there is garrulous complaint, or deep muttering ; then comes 
a momentary gleam of hope, followed immediately by heavy 
gloom, dark suspicion and wild anxiety ; the hands are 
clinched, the teeth set, the eyes lurid with rage ; anon he 
meets the object of his wrath, and love gains the mastery for a 
time ; he believes that she is above suspicion ; this again is 
succeeded by doubts, and his rage is wilder than ever ; the 
voice is harsh, the tones furious ; all restraint seems gone, and 
the unhappy victim is fairly insane with mingled emotions. 
The strain is terrible, and utterly beyond the powers of most 
actors. This, in itself, is sufficient reason why no amateur 
should attempt Othello, Alonzo or like characters. 

Judging is shown by a dignified, grave demeanor ; the look 
is steady and attentive, the bearing stern but impartial ; the 
words are spoken slowly, distinctly, with no attempt at oratori- 
cal flourish, and there is a marked absence of gestures. 

Love requires the least explanation of all the passions, 
because it is an emotion with which everybody is familiar. 
We all love or have loved somebody or something ; but stage 
love, from its usually rapid development, may be given a few 
words of special notice. If the lover is a successful wooer, 
like Claude Melnotte, he looks happy, smiling and contented ; 
the face lights up, the eyes brighten, the bearing is eager and 
joyous ; the voice is musical and confident, the tones soft and 
low ; if unsuccessful or in doubt, the bearing is eager, restless 



THE PASSIONS. 



65 



and troubled ; there is a strained, nervous desire to please, a 
" sighing like furnace," an aimless movement, mingled with 
great anxiety and deep melancholy. And so f ' he plays his 
part." 

Mirth may be noisy, explosive or quiet ; it may roar like 
Sir Toby Belch, or chuckle like Sir Peter Teazle ; and the 
quiet sort, if well done, is always the most effective ; in boist- 
erous mirth the head is thrown back, hands pressed to the 
sides, the body shakes, and the eyes are often filled with tears ; 
the laughter is loud and explosive 5 in the quiet sort the body 
is convulsed with suppressed merriment, the face is red and 
the only sound is a series of explosive chuckles. 

Melancholy is the exact opposite of the foregoing; it is 
marked by slow, listless movements, absence of mind, down- 
cast eyes, and a pale, gloomy, utterly wretched look ; the 
speech is slow, monotonous and labored j all hope seems lost, 
and even existence itself seems a burden. 

Malice is much like hate, though it is a lesser passion and 
consequently not so powerfully expressed ; the jaws are set, 
the mouth drawn down at the corners, the look furtive and 
unsteady ; the voice is bitter and stinging j the tone slightly 
elevated. 

Madness is so variable in appearance that it may be truly 
said that no two insane people look or act alike. There is, 
however, one important symptom observable in- all cases of 
insanity, which is that of inattention ; a person thus afflicted 
is unable, through lack of will-power, to fix the mind upon 
any current subject. Madness may be general, as in Ophelia, 
or it may be observed in delusions, as when a man imagines 
himself to be another person, or one possessed of vast wealth 
or power. Hallucination is not necessarily madness ; Macbeth 
is not mad when he imagines that he sees the dagger ; he is 
not mad when he imagines that he sees Banquo's ghost, 



66 



AMATEUR THEATRICALS. 



although the hallucination is much greater then than at first, 
and the border-land of lunacy is almost reached. Madness, 
then, as represented on the stage, is rarely true to nature ; no 
audience would be satisfied with a maniac who did not rave ; 
therefore, in playing such characters there must be wild, rolling 
eyes, distorted features, restless, impatient gestures, and varia- 
ble tones. 

Pleading assumes a gentle, anxious tone ; the voice is low, 
soft and persuasive ; brows lifted, hands clasped together or 
held out, palms upward, toward the person addressed ; the 
body bends forward, and the head is sometimes dropped upon 
the breast. 

Petulance is expressed much the same as anger, though 
with less force ; the tone is impatient, the action nervous ; the 
bearing is disdainful, the voice sharp, the speech hasty and 
broken. 

Perplexity, if slight, is marked by numerous pauses ; the 
words are spoken slowly and with evident hesitation ; as the 
degree increases the action is greater ; the body is drawn 
together ; the hand shades the eyes or rests upon the chin ; 
the lips are drawn up ; in serious perplexity the brows are 
drawn and the eyes cast down, while the speech is slow and 
grave ; in comic work the gestures are exaggerated, the hand 
rubs the back of the head, the features are " puckered," and 
the voice is now high and now low. This is a feature of 
most farces, and if well done affords endless amusement. 

Pity is a combination of love or respect and sorrow; the 
hands are extended, the voice is grave and earnest, and often 
trembles with emotion. 

Pride carries the head high, the body erect ; the look is 
cold and disagreeable; the lips are compressed, the words 
are uttered slowly in a high, unpleasant tone; the bearing is 
bombastic, the walk slow. 



THE PASSIONS. 



6 7 



Pardoning or forgiving shows a mild, beaming countenance, 
a pleasant, hearty, but grave voice, and an erect carriage; 
the hand is warmly clasped or extended, palm downward, 
toward the person addressed. 

Revenge is hate in action ; it is wild and excited, and is 
represented much the same as anger. 

Remorse has a downcast, anxious look ; the head is bowed, 
the right hand closed over the breast, the attitude strained 
and agitated ; the voice trembles and hesitates, and there is 
an evident appearance of mental suffering, doubt and fear. 

Reproof assumes a stern look, with lofty bearing and few, 
if any, gestures ; the voice is slow, measured and severe ; the 
tone high with occasional bursts of indignation. 

Submission is indicated by a broken, hopeless tone ; the 
head droops, the eyes are downcast and the hands either 
cover the eyes or hang listlessly at the sides. 

Shame causes the figure to shrink and turn away, with down- 
cast looks and faltering speech ; the action indicates much 
humiliation and self-contempt. In comedy shame is coupled 
with confusion and admits of considerable exaggeration in 
action, voice and gestures. 

Tempting requires an earnest, but soft, eager, and per- 
suasive voice \ the tone must be flattering, but at times quite 
energetic. 

Vexation is expressed in much the same manner as perplex- 
ity, with a tone of complaint or lamentation added thereto, 
and the action is indicative of a certain degree of petulance 
or anger. 

Veneration shows great solemnity in voice and bearing ; 
the utterance is slow, the tone deep and impressive ; hands 
and eyes are raised ; in some cases the knee is bent and the 
head bowed. 

Wonder opens the eyes in astonishment, often raises them, 



68 



AMATEUR THEATRICALS. 



and if the astonishment is sudden the hands drop whatever 
they held ; the body bends forward, the open hands are lifted, 
the mouth opens and the eyes stare ; if fright be added to 
wonder, then the expression includes that of fear. 

There are many emotions described in this chapter which 
the amateur actor will seldom if ever be called upon to repre- 
sent ; yet a careful study of all will do no harm, as a thorough 
knowledge of expression is something which every actor, 
amateur or professional, should acquire. 

Before leaving this subject I must again seek to impress 
upon the young Thespian the absolute need of becoming 
absorbed in his part and striving to feel every sentiment that 
he expresses. Thus, and thus alone, can he become a suc- 
cessful actor. 



CHAPTER XII. 



BY-PLAY AND BUSINESS. 



HERE can be no acting without effective by-play and 



1 stage business. To omit these important matters is to 
reduce the play to mere dialogue — destructive alike to illusion 
and stage effect. 

Therefore the amateur should understand from the outset 
that the business of the part ranks equally with the text. 

This being the case, there should be no shirking of work at 
rehearsals ; for the most trivial scenes require practice, and 
it is the height of egotism in an actor to say that he can per- 
form the necessary by-play or business without ' ' bothering to 
rehearse it." I have no patience with such people, for I find 
that they invariably blunder and frequently ruin a scene 
through lack of practice, 

There are endless little things, "unconsidered trifles" in 
themselves, which if properly done add greatly to the effect of 
the play. Rising or sitting ; a contemptuous glance ; a plead- 
ing look; a threatened blow — any of these, done at the proper 
time and in the proper way, will tell, more than any words 
can do, what is passing in the mind of the actor. 

By-play consists in keeping up consistent action while not 
actively engaged in the movement of the play. The panto- 
mime quarrels of Polly and Sa?n in " Caste" are characteris- 
tic. But this by-play must not be overdone, and in no 
instance should it be made so prominent as to draw attention 
from others. Actors of comic roles should be particularly 
careful in this. If on the stage during an impressive scene, 




7o 



AMATEUR THEATRICALS. 



let the by-play be of the slightest, or the scene will surely be 
ruined. In the drama of " Border Land" there is a bit of 
pathos, where Ralston describes the death of his brother. I 
was playing Ralston one night, and just as I came to this 
speech I observed that the audience was mightily pleased at 
something. I continued the speech and on reaching the 
climax was greeted not with the usual flow of tears but with a 
roar of laughter. Glancing around I saw that the charming 
young woman who did Polly was manfully striving to balance 
a feather duster upon her sweet little nose. I kept my temper ; 
it is the only one I have, and I couldn't do without it; but 
between the acts I privately informed the young woman that 
I would give a million dollars — or maybe it was two million — 
if she were a man of my size for a couple of seconds so that I 
could knock her little pearly teeth down her little foolish 
throat. 

Business includes all stage work aside from speaking the 
lines. It is the crucial test of an actor's ability, for, no mat- 
ter how well the lines are read, if the action be stilted or 
woodenish the effect is poor. 

The first thing an amateur actor should learn is to stand * 
still. I do not mean- by this that he should strike an attitude 
and stand as if carved from marble ; but I do mean that he 
should keep still unless action is necessary. Running about 
the stage, jumping up or sitting down without rhyme or 
reason, is very distasteful to the audience, and the amateur 
should carefully avoid it. 

When writing a letter on the stage, take time. Repeat the 
words as you write them, slowly and distinctly. I have seen 
actors write letters at rate of speed that would make a stenog- 
rapher green with envy. Letters may be read with more 
rapidity, but, as previously mentioned, you should commit all 
such letters to memory j you will thus be independent of the 



BY-PLAY AND BUSINESS. 



71 



prompter, besides avoiding the incongruity of bending over 
the footlights to read. 

It is the habit of most people to count money when received. 
Bear this in mind, and don't pocket a sum without counting 
it unless the part is that of a habitually careless man. 

Always keep up the character which you represent. If you 
are doing a "dialect " role, recollect that for the time being 
you are Dutchman, an Irishman, a negro or what not. This 
is highly important. I have known amateurs who were cast 
for Irish parts to forget themselves, drop the brogue, and speak 
for a time in the choicest Lindley Murray English. The 
effect was astonishing. Peculiarities of gait or action should 
at all times be faithfully observed. 

In kneeling on the stage remember that you should always 
drop upon the knee farthest from the audience — unless you are 
facing the audience, as when Young Marlowe is surprised when 
making love to Kate ; in such a case you bend both knees. 

Business varies so much in different plays that it is impossi- 
ble to make rules applicable to all. It may be put down as a 
general observation however, that the actor should seize every 
little point which may strengthen his part. As an illustration : 
Clarkson Biles in " Miriam's Crime " has a scene in the sec- 
ond act where he comes on befuddled with rum and under- 
takes to make an inventory of the articles in the room. In 
playing this part I have made a great deal of sport by stumb- 
ling over a rocking chair several times and each time adding 
the chair to the list ; then in a bit of by-play with Scumley I 
would show him the list, and cause much amusement by my 
drunken perplexity over the evident discrepancy in the num- 
ber of chairs. 

If you closely observe any first-class professional company, 
you will see that the actors are invariably in the right place at 
the right time. There is no halting, no waiting, no uncer- 
tainty. The stage is always dressed, the picture is always 



72 



AMATEUR THEATRICALS. 



perfect. If an actor is required to speak in a "side " tone to 
another, he is there, without rushing across the stage for that 
particular purpose. Now you may possibly imagine that the 
professional actor does all this as a matter of course ; but if 
you could see the long and weary rehearsals in which this per- 
fect business is worked up you would be undeceived. There- 
fore, I say again that if you have to pick up a paper, lay down 
a book or perform any act, however trifling, you should 
rehearse it carefully until you can do it at the proper time and 
in the proper way. 

A fisticuff or rough-and-tumble fight must receive special 
attention. In the last act of the " Ticket-of-Leave Man " the 
long pent-up sufferings of Brierly leads him to make a wild, 
reckless attack upon the powerful Dalton ; the latter is per- 
fectly cool, and, though staggered by the fierce assault, his 
coolness and strength easily win. But Hawkshaw is as cool as 
Dalton; he makes no mad rush; the two antagonists approach 
slowly, with wary, cautious glances; each recognizes a worthy 
opponent in the other, and every trick of the skilled athlete is 
brought into play ; Hawkshaw 's triumph, then, is a foregone 
conclusion. 

Always turn toward the audience — never away from it, and 
keep to the front, especially when making exit speeches. 
Apropos of this, when two people exit together the appearance 
of conversation should be kept up until they are clear of the 
stage. 

If at any time a break in your lines or a stage wait forces 
you to extemporize, be sure that the words are in keeping with 
your assumed character. I remember hearing Belinda in 
"Our Boys" tell about walking down Broadway, in blissful 
forgetfulness of the fact that New York was three thousand 
miles away; and worse yet, I heard an amateur Sallnstio in 
" Ruy Bias" declare that his defeat was not a Waterloo — 



BY-PLAY AND BUSINESS. 



73 



which was doubtless true, since that famous battle was not 
fought until more than a century afterwards ! 

To sum up : If you want to act well, to give a neat, finished 
performance, you must study the business of your part as you 
study the lines. Omit nothing ; shirk nothing ; consider the 
effect of every movement, and strive above all things to make 
the business and by-play accord in perfect harmony with the 
character you represent. 



CHAPTER XIII. 



MAKING-UP. 

A GOOD make-up carries the performer a long distance on 
the road to success. Unless one looks a part he cannot 
expect to act it. A juvenile Lear or an elderly Romeo would 
be an obvious absurdity. All great actors, at least of the 
present generation, are masters of the art of making-up ; and 
the performer who lacks the ability to look his role will find 
the ladder of histrionic fame exceedingly hard to climb. 
Wallack, at sixty, playing Evelyn, and Madame Modjeska 
acting the youthful Julia before her own grandchildren, show 
the triumph of art. 

No book can teach the art of making-up. That can only 
be acquired by experience, study, and keen observation. You 
may learn, however, the use of the various articles required, 
the distinguishing traits of contrasted types and conditions, 
and, more than all, how to avoid the common errors which the 
inexperienced are prone to commit. Here, as elsewhere in 
this work, I eschew all theory and speculation, confining my 
remarks entirely to facts. 

First, then, remember that daubing is not art. Too much 
color is worse than none ; for, whereas an absence of color 
leaves the face pale and sickly, too much of it makes a mean- 
ingless botch. 

Making-up should be done under a strong light on each side 
of the mirror. On the stage you are under the glare of the 
foot, fly and border lights, which will quickly expose any care- 
less, patchy work. 



MA KING- UP. 



75 



The size of the theatre is an important consideration. When 
the stage is large and the audience is at a considerable distance 
the lines should be dark and heavy. The same make-up on a 
small stage would look crude, and in a drawing-room would 
be positively hideous. The smaller the stage and the nearer 
the audience the more difficult it is to make-up artistically. 

It must be borne in mind that the purpose of making-up is 
to represent character and condition but not passion. The 
latter can be shown only by expression. A couple of dark, 
narrow lines drawn between the eyebrows will give the face a 
frowning look ; but people do not frown throughout a play, 
and, if a smile should be necessary, those dark lines would 
give the countenance an astonishing look. Mr. Booth as 
Richelieu looks the part to perfection ; the gray hair, the fur- 
rows and wrinkles of age, the pallor of broken health, are all 
there ; but the varying emotions of cunning, vanity, humor, 
courage and other attributes of the great Cardinal are reflected 
in his mobile face. 

Before attempting to make-up for a part you should care- 
fully consider the nature of the character which you intend to 
represent. Every type has some marked, characteristic fea- 
ture which you should fix in your mind and strive to portray. 
An excellent way to do this is to practice before a mirror until 
you can mould your features into the desired expression. You 
will thus see where to shade and line your face in order to fix 
the natural expression of the character. Let us suppose that 
you are cast for Legree in "Uncle Tom's Cabin." This 
character, as most people know, is devoid of all the gentler 
qualities ; — for Legree is a simon pure brute, coarse, ugly, 
repulsive. Picture in your mind his dark face, heavy brows, 
square jaw and savage mouth ; endeavor to express all this 
and watch the effect in your mirror. You will soon discover 
what facial muscles are called into play, and with patient prac- 
tice you will learn how to set and intensify the character in 



76 



AMATEUR THEATRICALS. 



your make-up. This suggestion holds good in all cases, for 
character, and character alone is what you want to portray. 
In a few deft touches with a lining pencil I can give to the 
face the merriest sort of a smile; but, cut bono — what is the 
use ? It would be neither sense nor art, for no one, excepting 
possibly a natural idiot, would grin incessantly. Therefore, 
instead of making the face smiling, I would treat it so that 
while presenting a full, round, jolly appearance it will be free, 
if necessary, to indicate any stern passion. 

The art of making-up is so great and the field is so broad 
that no general treatment will do. Each division must be 
handled separately. To avoid repetition we will first give at- 
tention to the various articles used in making-up. All unnec- 
essary articles are excluded from the list, as it would be unwise 
to describe superfluous goods, the mere mention of which 
would confuse the novice. 

Grease Paints are the handiest, most natural and therefore 
the best to use for the make-up. Grease paint blends so readily 
that any degree of shading may be effected ; moreover, it is 
perspiration-proof, and so needs no patching ; it is neat, com- 
pact, and the shades are so nicely graded that even the novice 
will find little difficulty in selecting the proper flesh tint. This 
flesh tint comes in large sticks, and is the body or foundation 
color which is always first applied. It is the character mask 
which distinguishes the sunburned sailor from the pale student 
— the Italian from the Indian — the negro from the white. 
Lining color is put up in smaller sticks, and is used for tint- 
ing the face, shading the features, and drawing the necessary 
wrinkles. There are nearly fifty varieties of flesh colors manu- 
factured, and perhaps a dozen shades of lining colors. No 
amateur will need all these. Indeed, for ordinary purposes 
the following will be ample : 

Flesh Colors : Light flesh ; dark flesh. 



MAKING- UP. 



77 



Lining Colors : White, gray, brown, black, juvenile rouge, 
" old man's " rouge. 

In certain character parts, as old men, country boys, sailors, 
and the various nationalities — Indians, Chinese, Spaniards and 
the like, you will require a larger assortment. All the articles 
mentioned in this chapter can be purchased from the publisher 
of this book, from whom descriptive price lists may be had on 
application. 

Water Cosmetique is used to color the hair, eyebrows or 
moustache so as to harmonize with the rest of the make-up. 
It is far better than powder in every particular. It will not 
brush off; it may be easily washed out with water, and unlike 
india ink, it is perfectly harmless ; it is made in a variety of 
colors — white, gray, blonde, red, brown, auburn and black \ 
— so that every shade of hair can be matched. It is applied 
by dipping a small brush — a tooth brush is best — in water and 
rubbing it over a cake of the cosmetique, thence over the 
hair until the required tint is produced. 

SpiritGum is a thin, tenacious varnish, and is used to fasten 
on eyebrows, moustaches and beards. In applying it the skin 
must be free from paint, or the spirit gum will not adhere. 

Rouge adds color to the face, and heightens the effect. The 
" juvenile " and " old mart's" rouge are put up in the form of 
grease paint. Dorin's rouge is a compound powder, and is 
used chiefly for touching up the face. Grenadine rouge is the 
best, being a pomade the basis of which is carmine. 

Nose Putty is useful in comic or grotesque characters where 
it is necessary to change the shape of the nose. 

Email Noir, or black enamel, is used to make the teeth 
invisible, and is highly effective when playing the character of 
an old man, old witch, or the like. It is a liquid and is 
applied directly to the teeth after wiping them perfectly dry ; 
in a few moments the teeth turn black, and of course are invisi- 



78 



AMATEUR THEATRICALS. 



ble to the audience. It is easily brushed off, and is entirely 

harmless. 

Burnt Cork is necessary only in making up negro charac- 
ters. The prepared burnt cork should always be used. Its 
cost is trifling, it is far more effective than the home-made 
article, and, moreover, it is easily removed. Before applying 
burnt cork the face should be lightly rubbed with vaseline or 
cocoa-butter, as it spreads the color and besides makes it easier 
to remove. 

Ruddy Rouge is a useful powder for representing sunburnt or 
weather-beaten faces. For a finished make-up, however, the 
proper shade of grease paint is best. 

Cocoa-butter is an indispensable article to every performer. 
Before making-up it should be rubbed a few times over the 
face. This smoothes and softens the skin so that the colors 
will blend readily — without which blending no really artistic 
make up can be had. After the performance you may quickly 
remove every trace of paint by passing a cake of the cocoa 
butter over the face and wiping it with a dry cloth. Anyone 
who has nearly vivisected himself in trying to wash off a make- 
up — particularly of burnt cork — will appreciate this article. 

Artists* Stomps are used for lining the face, drawing 
wrinkles, etc. Lining pencils — and even the small eyebrow 
pencils — cannot be used for drawing fine lines without constant 
sharpening, which necessitates loss of time and material. All 
this is obviated by using the artists' stomps. By rubbing the 
point of one of these on a lining pencil you will have a neat 
crayon of the proper color and can draw anything, from a deep 
wrinkle to a fine '? crow's foot." 

Powder Puffs are used for the finishing touches of the make- 
up. You should have a separate puff for each color of powder, 
or the finish will look patchy. Only a small amount of 
powder should be applied at one time or the work will appear 



MAKING-UP. 



79 



rough and uneven. Better go over the face two or three times 
than to spoil the make-up. 

Hare' 's Feet are used for brushing off any surplus powder 
from the face or neck. 

Face Powder finishes the make-up and consequently is the 
last article used. The powder, which should always corres- 
pond in color to the grease paint used, is applied with a puff, 
effectually removes the shiny look caused by the grease paint, 
and gives to the face a natural, healthy glow. Grease paint is 
not suitable for the hands, arms and neck as it is almost cer- 
tain to rub off and soil the clothing. Therefore it is best for 
such purposes to use what is known as " liquid cream." This 
liquid cream is prepared by simply mixing face powder with 
water in the proportion of one box of powder to four ounces 
of water. Shake the bottle until a clear, creamy liquid is pro- 
duced. Apply with a sponge and rub the liquid in well with 
the hands so that it may be evenly distributed. 

Make-up Boxes can be purchased ready filled, or the con- 
tents may be assorted as desired. A good make-up box is a 
necessity to all who wish to make up properly. For general 
purposes the box should contain the following articles : 

A small mirror. A supply of crepe hair of various shades. 

A pair of scissors. A box of Dorin's rouge. 

A cake of cocoa-butter. A box of ruddy-rouge. 

Assorted grease paints. A bottle of spirit gum. 

A box of nose putty. A bottle of email noir. 

A set of water cosmetiques. Several artists' stomps. 

A pot of grenadine rouge. Two or more powder puffs. 

Prepared burnt cork. A hare's foot. 

A variety of face powders. 

You will also need a brush and comb, towels, and a supply 
of clean rags. 

Having explained, so far as necessary, the purpose of the 
various articles used in making-up, I will briefly consider how 
the features should be treated. 

Before attempting to make up the entire face we must know 



8o 



AMATEUR THEATRICALS. 



how to mask the various features so that the character may be 
consistent in every particular. This is a matter of grave 
importance, since incongruity is fatal to success. 

The Eyes require but very little aid from art — which is for- 
tunate, since art can do very little for them. The eye, that 
" window of the soul," must express all that tongue can utter 
or action indicate ; and if your visual organ lacks this power 
the finest make-up will avail nothing. 

The Eyelids, if properly shaded, will change the features 
wonderfully. If the upper and lower lids are both shaded 
heavily, the eyes will look hollow as if through sickness. A 
fine but distinct black line drawn just underneath the lower 
eyelashes will add much to the brightness and beauty of the 
eyes ; and if the skin just under the eyebrows be faintly touched 
with Dorin's rouge, the improvement will be still greater. The 
shading must correspond to the character and the size of the 
house. The gray or light brown should be used in the smaller 
theatres, and youthful characters should have the lids shaded 
very faintly, unless sickness is to be represented. As age 
increases, the lower eyelids are shaded more heavily ; but use 
caution at all times lest you give the character a " black eye." 
By drawing a clear, black or brown line along the rim of the 
upper and lower lids, the eyelashes will appear much heavier 
and the eye larger. Care must be taken to make these lines 
clear and distinct, and to unite them at a point beyond the 
outer edge of the eye. If these lines are drawn a little farther 
from the rims, made a trifle heavier, and carried upwards to 
meet at an acute angle above the outer corner of the eyes, you 
will have a Chinese cast of countenance. This is delicate 
work, and artistic effects can be achieved only by patient study 
and observation. 

The Eyebrows require special treatment, for if properly 
manipulated they will add wonderfully to the make-up. The 



MA KING- UP. 



8i 



color should always be in harmony with the hair and com- 
plexion — gray and shaggy for old men, dark for brunettes and 
fair for blondes. The shape, too, indicates character. It is 
sometimes necessary to paint out the natural eyebrow which 
may be done as follows. Moisten a piece of common soap 
and draw it across the eyebrow which will paste it down. You 
have then only to paint it over with a suitable color of grease 
paint to make the eyebrow totally invisible. If necessary the 
moustache may be treated in a similar manner. 

The eyebrows may be colored with water cosmetique, or 
even the lining pencils. But if a heavy, shaggy eyebrow 
is wanted, it is best to make it from crepe hair and fasten it 
on with spirit gum. Arched eyebrows give the face a kindly, 
benevolent look; if the brows meet, the face has a sterner 
appearance combined with low cunning; if the outer half of 
each eyebrow is painted out it will create a rascally, diabolical 
expression. 

The Nose is indicative of numerous types of character which 
should always be remembered in making-up. We have the 
Roman nose, the Grecian, the Jewish, the African — all dis- 
tinct and different — to say nothing of the pug nose, the flat 
nose, and noses big and little. To represent all these from a 
single original is by no means an easy task, yet it may be 
done. 

Unless the nose is a veritable " pug" the Roman cast may 
be easily produced. You have simply to draw a narrow, 
straight line of white down the middle of the nose, from the 
bridge to the tip — where it should be slightly widened — to 
produce the desired result. 

The Jewish Nose, which, according to Puck, is always 
" hooked," can be made-up as follows ; the nostrils should be 
enlarged with brown lining paint, and the nose, just above the 
bridge, darkened in the same way. This color should be care- 
fully worked in with the flesh tints so as to blend readily. The 



82 



AMATEUR THEATRICALS. 



general make-up should be darker than the nose which thus 
will be made more prominent. 

A Pug Nose may be successfully imitated by drawing a line 
of dark brown or black across the top, a half inch from the 
tip ; the line must be narrow but distinct across the top and 
spread out at the sides. Shade the front of the nostrils with 
the same color, add a streak of rouge, and if the work is care- 
fully done you will have a " pug" which Paddy Miles' boy 
himself might envy. 

It may be necessary at times to alter the shape of the nose 
by the use of nose putty, which should be applied in the fol- 
lowing manner. Moisten a sufficient quantity of the powder 
until it is like dough ; it can then be moulded into any desired 
shape and fastened on with spirit gum. When in shape it 
must be carefully covered with the proper shade of grease 
paint which requires a light touch so that the putty will not be 
disturbed. The face powder should be put on a little at a 
time, so as not to blotch the work which would give it a rough, 
unfinished appearance. 

The Mouth. Anything so mobile as the mouth cannot be 
confined to any set expression. Character and condition may 
be indicated by the skillful use of paints and powders ; we can 
show the temperament by making the lips thin or thick ; we 
can draw the mouth small or large, beautiful or ugly ; we can 
indicate good nature or bad nature ; we can show health or 
sickness, youth or old age. When we get thus far we must 
stop, for we have reached the practical limits of art. True, 
we could paint a smile or a frown ; but such work would be 
idle since it would represent a mere sentiment, brief and flit- 
ting, but which, being fixed by " art " must hold the features 
in an unmeaning smile or frown. From this it may be 
observed that in treating the mouth and lips there is a limit 
beyond which art must not pass. Let us consider, then, 



MAKING-UP. 



83 



exactly what we can do with our pigments and powders, 
without offending nature. 

A Large Mouth. In many low comedy characters — negroes, 
Germans, country boys, etc. — it is necessary to make the 
mouth appear larger than it really is. This is done by paint- 
ing the lips with carmine or grenadine beyond the natural 
lines, which will make the lips appear larger and thicker, and 
the mouth in consequence will seem greatly increased in size. 
Care must be taken, to draw a clear, narrow line of light 
brown just beyond the lip rouge, which will shade the 
painted surface, giving it a natural appearance. 

A Small Mouth. If it is desirable to decrease the apparent 
size of the mouth, it may be done in the following manner. 
Rub an artists' stomp on the lip rouge, and carefully tint the 
lips, keeping inside of the natural bounds. The portion of the 
lips not covered by the rouge should be neatly concealed by 
the proper flesh-tint. An exceedingly narrow but clear line of 
light brown should be drawn alongside of the rouge. 

A Firm Mouth. Thin, compressed lips usually attend 
much firmness. This peculiar trait of character is shown by 
painting out with the flesh color as much of the lips as may 
be necessary, and using the light brown lining pencil to mark 
the separation of the lips from the outer surface. Firm, dark 
lines should be drawn from the corners of the mouth down- 
ward. 

Good Nature may be indicated by painting the lines of the 
lips upwards at the corners, and by carrying the lines of the 
mouth upward with brown. These lines should be small, but 
distinct, remembering at all times to follow the natural lines 
of the face. 

Chronic III Nature. A sullen, ugly character may be 
shown by painting the lips full and carrying the lines down- 
ward from the corners. The rest of the face must necessarily 



8 4 



AMATEUR THEATRICALS. 



correspond to the mouth to render the make-up harmonious 
and effective. 

Shading, to be effective, must be applied with care or the 
result will be that the face will have a dirty, unwashed appear- 
ance. The color selected for this purpose should be a shade 
or two darker than that used on the rest of the face ; at the 
same time it should be considerably lighter than the color 
selected for delineating wrinkles. The eyes, the forehead, the 
temples, and the space between the eyebrows may be effec- 
tively shaded in representing age or infirmity ; and at times it 
will be necessary to shade the corners of the mouth, the chin 
and the sides of the face. The method of shading depends 
entirely upon the character represented. In youthful char- 
acters it is rarely employed, but as age increases the shading 
grows heavier. When properly done the effect of shading is 
natural and lifelike. In describing the method of making- up 
for character parts I shall treat this subject as fully as possible, 
but the actor will find that, after all, experience is the best 
teacher. 

Wrinkles. Actors who confine their work to juvenile roles 
may skip this if they choose, since they will not be required 
to harrow their souls in drawing " crow's feet." In painting 
wrinkles the natural lines of the face must be selected and fol- 
lowed with the utmost nicety ; for a badly drawn or misplaced 
wrinkle will sadly mar an otherwise perfect make-up. In small 
theatres the gray or light brown lining pencil may be used for 
the purpose ; in large theatres the dark brown, or even the 
black, may be necessary. In every instance the wrinkle must 
be dark in the centre and grow fainter at the edges where it 
gradually merges into the natural flesh color. It will be 
observed that the principal wrinkles appear across the fore- 
head, between the eyes, at the inner angles of the eyes, about 
the mouth, the wings of the nose and the crows' feet at the 
outer corners of the eyes. The last named should be fine, 



MA KING- UP. 



85 



and not more than three or four should be drawn. To throw 
up a wrinkle into bold relief I usually draw a white line 
alongside of it — especially if the character be that of eccen- 
tric or low comedy. Wrinkles should be drawn with an 
artist's stomp, unless india ink is used in which case a fine 
brush is necessary. 

A Thin Face. Characters like Uriah Heep in " David 
Copperfield " or Mr. Krux in "School" are supposed to 
have, like Cassius, ' 1 a lean and hungry look. ' ' The best way 
to produce this effect is by first covering the face with sallow 
grease paint, and then touching up the cheek bones, jaw bones 
and temples with the lightest flesh color; the eyes, cheeks, 
corners and wings of the nose should then be carefully shaded 
with the gray or brown lining pencil, which will produce a 
starved, emaciated appearance. 

A Fleshy Face. If the features are naturally thin or sharp 
and the opposite effect is required, the simplest way is to use 
only the light flesh colors and apply plenty of rouge. Short 
side whiskers will add to the effect. Another, but far more 
difficult way is to pad out the cheeks with jewelers' cotton 
or nose putty. These methods while highly effective if well 
done, require so much skill that I cannot recommend them to 
the amateur. 

The Neck should be made to correspond to the face — made 
light or dark as the character is light or dark, and in elderly 
characters it should be shaded and lined. 

The Hands y too, must correspond to the face ; a weather- 
beaten sailor, for instance, with fair, white hands would be an 
absurdity. These little points may seem trifling but it is only 
by this watchful attention to details that good work is possible. 

The Teeth. In making up, nothing can be done with the 
teeth except to stop them out with Email noir, as previously 
described. 



86 



AMATEUR THEATRICALS. 



What is known as " character" make-up is so broad in its 
application that only an outline of the subject is possible. The 
difference in people is so great that no two characters can be 
found who are exactly alike in all particulars. Old men are 
not always bald nor gray ; villains are not always dark, nor 
heroes always fair j the drunkard's nose is not always red nor 
the Irishman's a pug. We must use discretion in these matters, 
and go to nature for our models. 

Youth. The young men of the play, the juveniles, light 
comedians, lovers, etc., require very little making-up. If 
grease paints are used, the face, after being cleanly shaven, 
should be lightly covered with the juvenile flesh tint ; this 
should be rubbed in and evenly distributed over every part of 
the face, ears and neck. The juvenile rouge should now be 
applied, laid high on the cheek bones and carefully worked up 
under the eyes and toward the temples so as to blend neatly 
with the flesh color. If the eyebrows are naturally dark and 
heavy nothing need be done with them ; otherwise they should 
be lined as previously described. The lower eyelid should be 
lined, a faint touch of rouge placed upon the chin, and after 
the face is carefully powdered the make-up is complete. Too 
much rouge must not be applied, nor must it be carried too 
low down on the cheeks or the face will appear aged instead of 
youthful. 

Manhood. As middle age approaches, the face loses the 
freshness of youth ; wrinkles and crow's feet begin to appear, 
and, naturally, more attention must be paid to the make-up. 
The age of characters under this heading is supposed to be on 
the sunny side of forty, therefore the lines should be less 
strongly marked than in middle or old age. The fresh bloom 
of youth is gone, so a darker shade of flesh color should be 
used. The wrinkles should be faintly traced. First, draw 
two or three lines to indicate crow's feet ; these should extend 
from the outer corners of the eyes, and should vary in direc- 



MAKING-VP. 



87 



tion according to the character \ if jolly good nature is the 
predominating feature the lines should have a downward turn ; 
in a calm, even nature they are horizontal, and if the character 
inclines to sternness or viciousness the lines should lead up- 
wards. Faint lines should be drawn from the wings of the 
nose toward the corners of the mouth, and there should be a 
touch of gathering wrinkles between the eyes ; the forehead as 
yet is smooth, and there should be no indication of gray in 
hair or beard. 

Middle Age. From forty to sixty is known, somewhat in- 
appropriately, as middle age, and the difficulty of making-up is 
vastly increased. Indeed, this period, embracing as it does 
almost an endless round of characters, gives the ambitious 
artist the greatest opportunities for displaying his talent. At 
forty the character is fixed ; it has lost the buoyant spring of 
early manhood, and becomes set in looks, habits and customs. 
It becomes practical, cautious, conservative, and considers the 
effect of every move. To this class belong the successful 
banker, lawyer and business-man; the elderly servant, the 
stage father, the villain, the bummer ; nearly all the character 
and eccentric roles are of this class, and the medley is so 
bewildering that it is well-nigh impossible to decide what 
characters shall be selected for description, or where to begin. 
It is clearly impossible to give any set rules in the matter — to 
say that this should be the make-up for a lawyer or that for a 
drunkard. Eccles in " Caste " and Coupeau in " Drink" are 
types of the hard drinker, yet the make up differs radically in 
each case. So, too, with the " heavy villain ; "Jacques in the 
"Two Orphans" is totally unlike Skraggs in "My Partner," 
and both differ from Dempsey in " Border Land." This line 
of comparison might be continued indefinitely, but the cases 
cited are enough to show that circumstances must govern and 
judgment dictate the proper make-up and delineation of 
character parts. And here let me drop a word of warning : 



88 



AMATEUR THEATRICALS. 



Beware of too ?nuch paint. Make-up is often spoiled by being 
overdone. It is the judicious, not the abundant, use of color 
which denotes the true artist. In laying on the foundation 
color — the flesh tint — it may be either sallow, tanned, or 
florid j and the shading and lining must be strongly marked. 
The make-up should follow the ideas of the author, who, in 
creating the character, usually outlines his appearance, dress, 
and other peculiarities. 

Old Age. The sunset of life shows the face heavily wrinkled, 
and the color is usually pale or sallow. The lines of the fore- 
head, eyes and mouth are heavy, the lips pale, the eyes heavy. 
The temples, the corners of the mouth, the flesh about the lips 
and the eyelids should be shaded with a dark or light color 
according to the size of the theatre. The wrinkles should be 
drawn with an artist's stomp, and should be much darker than 
the shading. A touch of the "old man's" rouge should be 
placed low down on the cheeks, carefully worked in to blend 
with the body color. The eyebrows, of crepe hair, should be 
full, shaggy and gray. The neck will need lining, the hands 
also, and a gray wig, either half bald or scant of hair should 
be worn. 

It must not be forgotten that characters frequently vary in 
make-up during the acts of a play. The change of years, con- 
dition or health make these variations necessary to keep up the 
illusion. In acting the part of Brier ly I am accustomed to 
make no less than four complete changes in both make-up and 
costume. Act first shows the honest Lancashire lad, flushed 
with drink, unkempt in appearance, and heavy-eyed through 
lack of sleep. Act second shows him pale with the "prison 
bleach," while in act third he has regained his natural healthy 
color. In act fourth he is pale, worn and hopeless. And 
these changes must be made in the few brief minutes between 
the acts. Here, then, is another excellent argument against 
amateurs assuming such roles ; for, taking into consideration 



MAKING-UP. 



89 



the number of lines, the difficult dialect, the shifting emotions, 
and the rapid changes in make-up and costume, we can readily 
see that Brierly is a character utterly unfit for amateurs. 

National Types. The custom of exaggerating these char- 
acters is so universal that it is practically impossible to see a 
rational Irishman, German or Jew before the footlights. While 
it is necessary, doubtless, to draw these and similar characters 
somewhat broadly, yet they should be kept within the limits 
of nature, and exaggeration should never descend to burlesque. 
The following descriptions are general, not special, and must 
be so accepted. 

English characters, excepting the lower classes, differ but 
little from Americans. The ' 1 howling swell" is known by 
his monocle, loud apparel, and affected speech, with which the 
make-up has nothing to do. Elderly Englishmen are generally 
made up florid with mutton-chop whiskers, but in all other 
respects the suggestions previously made will apply to English 
characters. 

French. The orthodox stage Frenchman is a trifle darker 
than the Englishman, but lighter than the Spaniard. The flesh 
tint should be medium, the lower eyelids strongly marked, the 
eyebrows black and heavy. The chin must be lightly touched 
with blue, the cheeks faintly rouged, and the usual short, 
curled moustache and imperial worn. Hair and beard should 
be black. 

German. The average stage German is usually a fool, a 
knave, or a combination of both. Right or wrong, he is almost 
invariably one of two classes — the blundering, stupid nuisance 
in cap and jacket, or the long haired, spectacled professor. 
The German face as a rule is fair, and should be made up 
light, with a full face and pink cheeks. The mustache should 
be treated to a coating of joining paste and then heavily powd- 



90 



AMATEUR THEATRICALS. 



ered with chrome ; the eyebrows and beard — if the latter is 
worn — should be of a similar color. 

Spanish. There are two shades of grease paints, known as 
" light " and " dark " southern, which are used as the body 
color in making-up Spanish characters. The first is employed in 
gentlemanly roles like Ruy Bias or Don Felix ; the second in 
heavy characters such as Captain Manuel. Rouge must be 
used sparingly, employing just enough to throw up the expres- 
sion, and the eyes are to be lined as described for Frenchmen. 
Hair and moustache are black, the latter carefully waxed, and 
either a long goatee or a chin beard may be worn. 

Italian. The Italian make-up is practically the same as the 
Spanish, save that the pointed goatee is not worn, and with this 
exception, the make-up for one will pass current for both. 

Scotch. It must be borne in mind that the people of Scot- 
land are fair, with blue eyes, sandy hair and florid complex- 
ions — at least these are national characteristics and should be 
considered in making-up. A robust juvenile shade of grease 
paint should be used for the younger characters, gradually 
changing to darker colors as the years increase. Touch the face 
up with ruddy rouge, and apply rouge or carmine freely to the 
cheeks. The hair, beard and eyebrows must be sandy and if 
naturally dark they must be lightened with chrome or blonde 
powder. 

Irish. I am not aware who is responsible for the ridiculous 
notion that low comedy Irish parts require red wigs and pug 
noses ; but even this is possibly less absurd than the commonly 
accepted theory that every Irish tongue is blessed with a 
brogue. The make-up and speech of an Irish gentleman is 
almost identical with that of an Englishman or American of 
like degree; but having accepted Handy Andy or Conn the 
Shaughraun as a standard, we must attempt no innovation or 
the drama is done for. Still, in playing the part of an Irish 



M A KING- UP. 



91 



gentleman it may be well enough to remember that he is a 
gentleman, in looks, voice and action, and govern yourself 
accordingly. Characters like Paddy Miles, Handy Andy and 
the usual run of farcical Irishmen should be made up with a 
rather heavy shade of grease paint, and the cheeks should have 
a liberal application of juvenile rouge. Touch the chin and 
throat lightly with powdered blue, and line the lower eyelashes ; 
if a wig is worn it should be close-fitting and curly. 

Mexican. The * ' heavy southern ' ' shade of grease paint 
should be used, and the make-up in general should be the same 
as for Spaniards. 

Indian. Either the regular 1 'Indian" grease paint or a 
mixture of the dark ruddy rouge and vaseline may be used as 
a body color, and the cheeks brightened with carmine. Indian 
women are somewhat lighter, and the liquid cream made from 
the Indian face powder may be preferred in making-up. The 
rouge should be applied high and carried straight across the 
face so as to throw the cheek bones into prominence. The 
hair and eyebrows are black, and the former should be dressed 
with a few bright-colored feathers. 

Negro. Before laying on the burnt cork the lips and nostrils 
should be covered with carmine, which lends the illusion of a 
flat nose and thick lips. The rest of the face should be rubbed 
with cold cream, vaseline or cocoa-butter which will allow the 
burnt .cork to be readily wiped off after the performance. 
Elderly negroes, like Uncle Tom, or Pete in " The Octoroon," 
should be made-up lighter, as heavy wrinkles must be drawn 
to indicate age ; these wrinkles should be laid on with India 
ink, before the face is blackened, and the burnt cork must be 
reduced with whiting to make the proper shade. The color 
should be laid in heavy about the eyes, but the palms of the 
hands should be nearly white. Gray eyebrows and a half-bald 
gray wig complete the make-up. 



9 2 



AMATEUR THEATRICALS. 



Chinese. The regular Chinese flesh color is required, and 
the eyes are made up as previously directed. But little if any 
rouge should be used, as the Chinese face is generally devoid 
of color. 

Jews. A dark flesh color, light brown shading for the 
eyes, bushy eyebrows and the previously described orthodox 
nose complete this character's make-up. 

Countrymen, Sailors, Etc. People who pass most of the 
time in the open air have a healthy, sunburnt look if naturally 
fair ; otherwise the complexion is tanned. This must be 
observed in making-up ; for a sunburnt brunette or a tanned 
blonde would be a strange anomaly. If fair, the face and neck 
should be lightly powdered with the bright ruddy rouge — or 
the juvenile sunburnt flesh color may be used — and the cheeks 
highly colored with rouge ; if naturally dark, the heavy 
tanned, or heavy brunette character grease paint should be 
applied and the rouge must be carefully blended with this 
color. 

Wigs. In buying a wig always select a first-class article, 
because the best wig is a poor imitation of the natural hair. 
Wigs should be made to order, for a property or stock wig 
which is supposed to fit everybody never fits anybody ; and an 
ill-fitting wig will ruin any make-up. In eccentric and elderly 
characters a bald or half-bald wig is often necessary, and one 
must always be worn in negro or Indian roles. The color of 
the hair is an important matter. A fair, blonde, red or white 
wig makes the wearer look young, while the reverse is the 
case if a dark wig be selected. It must be remembered, too, 
that the shape has much to do with the appearance of the face. 
If the actor is fleshy the wig should be close-cut at the sides, 
and fit snugly ; for a full, thick wig makes a fleshy person look 
top-heavy. On the contrary, if the actor is thin faced, the 
wig should be full at the sides. If the hair is worn high, the 



MA KING-UP. 



93 



height is apparently increased, while an opposite effect is 
observed when the hair is combed down smooth over the fore- 
head. A villain with a high, philanthropic forehead would 
be a manifest absurdity, as would a low, beetle-browed 
humanitarian. A tall, robust man looks well in a heavy, 
flowing wig, which, on a short, " dumpy " man would appear 
ridiculous. It will be noticed that the hair of the head is 
always lightest at the temples and over the centre of the fore- 
head ; of beards at the apex of the lower jaw bone and under 
the corners of the mouth ; for here is where the frosty hand of 
Time leaves its first imprint. No wig will look natural without 
this shading; and as it is rarely seen even in the highest priced 
goods I advise that your wigs be made without earlocks ; and 
thus, by using the convenient water cosmetique, you may 
blend in the natural hair at the temples to any desired shade. 
The ambitious, painstaking actor will give this subject thought- 
ful attention, since the choice of a wig is certain to make or 
mar the illusion. Exact measurements are necessary when 
ordering wigs, the rules for which can be obtained from any 
dealer. 

Beards. This caption includes not only beards, but 
whiskers, goatees and moustaches. The simplest — and least 
natural — form is mounted on wire. This style should only be 
used in marked characters — like Dempsey in 11 Border Land " 
. — where the disguise is suddenly removed in presence of the 
audience. A fairly good fit can be made by bending the wires 
so that they press closely to the face. Another, and far 
superior style, is the ventilated or gauze-mounted beard, which 
is fastened to the face with spirit gum. Such goods cost more 
than the wire atrocities, but are well worth the difference. 
The last and really the most artistic of all is the beard fash- 
ioned from crepe hair in any desired style and fastened on 
with spirit gum. This crepe hair is made in all necessary 
colors from white to black. It is closely woven or crimped 



94 



AMATEUR THEATRICALS. 



upon two strings. A suitable quantity is first drawn out, after 
which it is combed or twisted between the fingers in order to 
break the wavy lines and thoroughly mix the strands. It is 
then carefully opened out and attached as follows. If a full 
beard is wanted the hair is fastened in sections — first to the 
chin, next around the chin and lower lip, then the side 
whiskers, and finally the moustache — the latter being in two 
sections which do not quite meet. The face must be entirely 
free from grease paint whenever a beard is to be fastened on, 
for otherwise the spirit gum will not hold. It is often necessary 
to give the face a rough, unshaven appearance ; this may be 
cleverly done by an application of the blue and gray lining 
pencils, being careful to blend the colors and not use too much 
of either. 

Before leaving this subject let me warn the reader that his 
first attempts at making-up will probably result in failure. 
The art is a difficult one to master and he must expect dis- 
appointments. But pluck, energy and observation will 
accomplish wonders ; and the novice may console himself 
with the reflection that there is no royal road to success, and 
that he can become an adept only by treading the rough and 
rugged pathway of experience. Resolve, then, to overcome 
every obstacle, to acknowledge no defeat, and if you fail in 
one attempt to try again and again and again until success is 
achieved and you feel that you are indeed master of the unruly 
paints and powders.* 

* Helmer's Actor's Make-up Book is the most practical and complete manual on 
this subject, and is indispensable to all who desire the fullest information about theatri- 
cal character masks. 




CHAPTER XIV. 



COSTUMES. 

CORRECT and harmonious dressing is a necessary feature 
in every dramatic entertainment. The figure often 
requires making-up as much as the face; and as this can be 
done only by means of appropriate costumes, the necessity for 
studying the subject is obvious. Style and color are the 
principal considerations; but the age and condition of the 
assumed character must not be overlooked. 

The style selected must depend entirely upon the date at 
which the action of the play is supposed to occur. Most 
printed plays contain fairly accurate descriptions of the cos- 
tumes ; but these descriptions, at best, are only general, and 
do not apply to individual cases. 

It will be observed that the apparent height and build of a 
character may be wonderfully altered by appropriate costumes. 
Thus, a snug, close-fitting dress will make a person look slim 
and tall. A loose sack suit will, on the contrary, make the 
figure seem short and stout. 

The costume should always harmonize with the character. 
A very young man should not wear a frock coat, and a silk 
hat should not accompany a sack suit. A soiled or ragged 
frock coat should always be worn by a " shabby genteel ' ' 
character, and the hat should be a silk one much the worse for 
wear. Servants must never outshine their masters in attire. 
Amateurs are very careless in this, and the effect at times is 
very inconsistent. Perhaps the worst instance of this that I 
ever witnessed was in Denison's excellent play of " Louva the 



9 6 



AMATEUR THEATRICALS. 



Pauper " in which Louva appeared in all the glory of an 
imported gros-grain silk dress ! 

Costumes must always harmonize with the surroundings. 
Tennis blazers, straw hats and muslin gowns are very appropri- 
ate for a lawn in mid-summer ; but in a drawing-room they 
would be absurd. A full dress suit at mid-day would be 
equally ridiculous. 

The rules of our best society forbid the wearing of jewels — 
especially diamonds — with ordinary street or house costumes ; 
and gentlemen, by a tacit understanding, dress very quietly, 
leaving all loud or eccentric costumes to idiotic "dudes" or 
vulgar " sports." 

Observe particularly before an entrance whether the scene 
is an interior or exterior, that you may avoid the blunder of 
traversing the streets without hat, bonnet or wrap — which 
blunder I have noted even upon the professional stage — and 
especially that you may not be guilty of such vulgarity as 
entering a drawing-room without removing the hat. If the 
scene is an interior and the call is formal the hat is carried in 
the hand ; otherwise it is supposed to be left in the hall. 
Gloves are worn on the street and with full dress, but rarely 
at other times. 

Eccentric characters and low comedians are allowed a special 
license regarding costumes, and their choice is usually the 
result of individual fancy. Some of these peculiarities have 
become traditional. We should hardly recognize Melter Moss 
or Marks without their umbrellas, and a melo-dramatic villain 
would seem improperly crowned in anything but the regulation 
black slouch hat. 

A gambler or sporting character as a general thing is loudly 
dressed with a profusion of flaring jewelry. The "horsey" 
sport affects big checks or wide stripes, gorgeous collars and 
cuffs, astonishing ties and wonderful — paste — diamonds. The 
"gentleman" gambler however — like Leamington in the 



COSTUMES. 



97 



" Woven Web," dresses plainly and in excellent taste, as it is 
his game to pass for a cultured, refined gentleman. 

In dressing the character of a farmer do not make it a 
burlesque. The American agriculturist is neither a clown nor 
a dolt. He does not wear his Sunday trousers inside of his 
boots nor squirt tobacco juice upon the parlor carpet. It is 
true that his clothing does not fit "like the paper on the 
wall," that it is not cut in the latest mode, and that, as a 
rule, he wears a shocking hat. Incongruity and not extrava- 
gance is the aim in costuming such a character. The coat 
should be large and ill-fitting, the trousers too short or turned 
up at the bottom, the hat rusty, the collar limp and the neck- 
tie ungainly. Study this type — and indeed all others — when 
occasion offers, for you can learn much more by observation 
than any book can teach. 

Give especial attention to the season of the year in which 
your scenes occur. Don't convulse your audience by wearing 
a linen duster and straw hat in December nor a sealskin 
jacket in July. See that your dress corresponds to the 
season, and that it harmonizes in every detail. Some people 
are exceedingly thoughtless in this respect. I have seen a 
Lady Shendryn in " Ours " do the third act in the same light 
slippers that she had worn in the second. The peculiar 
atrocity of this lies in the fact that the second act is in a 
London drawing-room, while the third is at the Crimea in 
mid-winter ! 

If any considerable time is supposed to elapse between the 
acts, the costumes with few exceptions, require changing. 
Character dresses need not vary save in minor details, but the 
costumes of juveniles, especially ladies, should invariably be 
changed. The fluctuations of fashions and circumstances 
make this rule imperative. 

Color is an important factor in selecting costumes. It is, 
perhaps, needless to suggest that a becoming shade be chosen 



9 8 



AMATEUR THEATRICALS. 



— one that will blend effectively with the complexion. What 
are known as complementary colors must be selected or the 
effect will be incongruous. A blonde style of beauty may 
wear blue with happy effect, while the same shade would make 
a brunette face resemble a thunder-cloud. A brunette looks 
well in red, which no blonde can wear. Black or white agrees 
with almost every complexion, but yellow is fatal to all except 
a certain rare, olive tint which few possess. Solid colors, if 
striking, tend to increase the apparent height. Vertical stripes 
produce the same result, but horizontal stripes have an opposite 
effect. The selection of stage costumes should be made under 
the immediate direction of the stage manager, who must have 
enough taste to choose colors which will blend properly and 
thus produce harmonious effects. Colors must always be of 
equal intensity, or one will deaden the other. Proper contrasts 
must also be made. Red and green go well together ; so do 
blue and orange, yellow and violet, and combinations like 
violet-blue and orange-yellow, green-blue and orange-red, and 
violet-blue with orange-yellow. 

By observing these simple rules unpleasant contrasts will be 
avoided, and the grateful effect of proper light and shade will 
be presented. 



CHAPTER XV. 



CONCLUDING REMARKS. 

IT has been the custom with certain writers on the subject of 
Amateur Theatricals to discourse with " words of learned 
length and thundering sound " upon the subject of scene 
painting. 

This, I hold, is absolute folly. 

If private theatricals are given, a drawing-room must be 
used and, ergo, you have all necessary scenery at hand. For, 
be it understood, only interior scenes can be used in plays of 
this sort, because any attempt to represent exteriors in an 
ordinary drawing-room would merely excite derision. When 
entertainments are given upon a public stage, the regular 
scenery will usually suffice for all purposes. 

See that the stage is properly set. Don't commit such 
blunders as having a parlor carpet down in an exterior scene ; 
and if seats are required in a scene of this kind they should 
always be rustic chairs, or at least camp stools. If the scene 
on the flat is a landscape, avoid touching it. I saw a weary 
actor rest himself once by leaning against a painted mountain, 
which, according to the perspective, was a dozen of miles 
away ! 

Be sure that the necessary properties are at hand and ready 
for use. If a gun or pistol is to be fired, see that it is prop- 
erly charged — a large percussion cap will be sufficient for the 
latter — and that the shot is made at the right moment. If 
letters, money, or any other articles are to be handed to a per- 



IOO 



AMATEUR THEATRICALS. 



son on the stage, be certain to have them at hand. Attention 
to these matters will save many awkward breaks. 

Always give the correct cue. This rule must be obeyed to 
the letter. Though you may pad the middle of a speech, or 
flounder about in the most insane fashion, yet the correct cue 
must be given or the play will be blocked and the scene, per- 
haps, hopelessly ruined. At the same time you should be up 
so thoroughly in the play yourself that you can pick up your 
own lines even though you fail to catch the exact cue. It 
would, indeed, be a rare thing to see a play acted as written ; 
words will be substituted, phrases eliminated and sentences 
changed ; but so long as the sense and meaning are retained 
we must not stickle at trivialities. 

Pay attention to your business both on and off the stage. Be 
ready on the instant for your entrances, and see that every 
detail of costume or property is attended to so that no stage 
wait can be charged to you. 

Having accepted a part, you are in duty bound to perform it 
to the best of your ability. If your role is an important one, 
remember that noblesse oblige applies to you with especial dis- 
tinctness ; if the role be small, then you will have all the more 
time to study it, to bring out its salient points, to perfect it 
and to stamp it with originality. The shortest part, so far as 
it goes, is just as important as the longest, for a servant with 
ten lines may help to make or sadly mar a scene. When you 
once engage to act a part, enter into the work with a hearty 
good will. Be prompt at rehearsals, attend to your business, 
shirk no work, and follow the instructions of your stage man- 
ager. 

Keep perfectly quiet when off the stage. Laughing, gossip- 
ing or " skylarking " behind the scenes must be strictly pro- 
hibited. Such nonsense interferes with the work on the stage 
and, moreover, causes neglect of entrance cues which may 
result in spoiling an effective scene. 



CONCLUDING REMARKS. 



101 



Never criticise your fellow members in or out of hearing ; 
the first is rude, the second cowardly. Always speak well of 
the club and of each member's work. Avoid all argument. 
No club can succeed without harmony j and as argument leads 
to quarreling and this in turn to chaos, the reason for avoiding 
it is self-evident. 

Indulge in no half-way measures. It may be trite to say 
that things done by halves are never done right, but it is none 
the less true. I certainly have no patience with people who 
act in a listless, perfunctory manner, as though careless alike 
of praise or censure. 

A few more words, and I shall speak my " tag " and ring 
down the curtain. 

Amateur theatrical entertainments will never be successful 
without cooperation, steady application, and a certain amount 
of hard work. One must be thoroughly in earnest, thoroughly 
unselfish, and willing to freely sacrifice personal ambition to 
the general good. 

Paste the following rules in your hat. Their application, 
though general, will rarely come amiss. 

Be letter perfect. 

Speak clearly and slowly. 

Don't interrupt. 

Be appropriately dressed. 

Stand still. 

Face the audience. 

Underact rather than overact. 

Choose easy plays, or secure the services of a professional 
coach. 

That is all. 



PRICE LIST OF 

IMe-Up material, Hair Goods, etc. 

*** The various articles here quoted are all high grade, the several Cosmetiques, 
Powders, etc., being guaranteed by the manufacturers io be positively free 
from all injurious ingredients. For the convenience of persons at a distance 
from the city, the publisher of this booh will send any of these articles, to any 
address, by mail, prepaid, on receipt of the prices annexed. 



GREASE PAINTS. 



Lining Colors. 



No. 



White. 

2. Juvenile Rouge. 

3. Old Man's Rouge. 

4. Gray, Light Shade. 

5. Gray, Medium Shade. 

6. Gray, Dark Shade. 

7. Brown, Light Shade. 

8. Brown, Medium Shade. 

9. Brown, Dark Shade. 

10. Black. 

11. Blue, for Veins. 

12. Green. 

8-inch Sticks, each $0 20 

Flesh Colors. 

No. 20. Pale Juvenile. 

21. Cream Juvenile. 

22. Brunette Juvenile. 

23. Sunburnt Juvenile. 

24. Robust Juvenile. 

25. Robust Cream Juvenile. 

26. Robust Brunette Juvenile. 

27. Robust Sunburnt Juvenile. 

28. Pale Light Character. 

29. Cream Light Character. 

30. Brunette Light Character. 

31. Sunburnt Light Character. 

32. Medium Character. 

33. Heavy Character. 

34. Heavy Brunette Character. 

35. Heavy Sunburnt Character. 

36. Sallow Heavy Character. 

37. Light Southern (Spaniard or 

Italian). 

38. Heavy Southern (Spaniard 

or Italian). 

39. Chinese. 

40. East Indian. 

41. North American Indian. 

42. Moor. 

43. Mulatto. 

44. Quadroon. 

45. Octoroon. 

46. Golden Yellow. 

8-inch Sticks, each $0.35 



Sets of 9 Colors, 4-inch Sticks in Box; 
viz., Light Flesh, Dark Flesh, Black, 
Brown, White, Blue, Gray, "Juvenile" 
Rouge, and " Old Man's" Rouge. 

Each $1.00 

FACE CREAMS. 
White, Pink, and Brunette. 

Each $0.50 

FACE POWDERS. 

13 shades, viz., White, Light Pink, Deep- 
er Pink, Bistre, Light Flesh, Dark Flesh, 
Sallow, Sunburnt, Italian, Chinese, Indian, 
Othello, Blonde for the hair. 

Each Color, per box $0.25 

Each Color, per i-lb. can . . . 1.50 

WATER COSMETIQUES. 

7 shades, viz., White, Black, Brown, 
Gray, Blonde, Auburn, and Red. 

Each $025 

NOSE PUTTY 25 

COCOA BUTTER 25 

GRENADINE 25 

ROUGE de THEATRE, Dorin's, .25 

SPIRIT GUM 30 

EMAIL NOIR 30 

BEAR'S GREASE, per bottle . .75 
EYEBROW PENCILS, Import- 
ed, Black, Brown, and Blue, 

each 25 

ARTISTS' STOMPS, each . . .15 
POWDER PUFFS, each ... .25 
Hare's Feet, Ivory Handles, each, .50 
Camel's Hair Brushes, each . . .05 
Water Cosmetique Brushes, ea., .15 
Burnt Cork, best quality, 

Per box 40 

Per i-lb can 1.50 

Clown's White, per box ... .40 
Cosmetique for the Moustache, 
Black, Brown, and Blonde ea., .25 
71 



THE ACTOR'S MAKE-UP BOX. 



A HANDSOME and Convenient Tin Case, 
containing a Complete Ordinary Out- 
fit; viz., A set of Grease Paints, each four inches 
long (light flesh, dark flesh, brown, black, white, 
blue, gray, "juvenile" rouge, and "old man's" 
rouge) , Powder Puff, Cocoa Butter, 
Camel's Hair Pencils, Dorin's 
Rouge, Grenadine, Spirit Gum, 
India Ink, Mirror, Hare's Foot, 
Artists' Stomps, Two Shades of 
Water Cosmetique, Water Cos- 
metique Brush, Face Powder in 
two Shades, Email Noir, Scissors, 
Assortment of Crepe Hair, Nose 
Putty, and Moustache Cosmet- 
ique. 

Price, by express $5 00 

Price, by mail, in two parcels 5.75 




THEATRICAL WIGS. 



LADIES' WIGS. 



Court $6.00 

Ringlet 5.50 

Frou-Frou 5.50 

Bourgeoise 7.50 

Peasant Girl 7.50 

Mother-in- Law 5.50 

Witch 3.75 



Short Curly $5. 50 

Short Curly, with Parting .... 6.25 

Plain Long Hair 7.50 

Wig made up in Present Fashion . . 5.00 

Wench 5.00 

Frontals 2.00 



GENTLEMEN'S WIGS. 



Court Wig, with Bag or Tie .... $4.00 

Rip Van Winkle 4.00 

Peasant 4.00 

Monk 4.00 

Judge 7.50 

Bald 4.00 

Comic Bald 4.00 

Chinaman 3.00 

Crop 4.00 

Dress 4.00 



Indian $3-50 

Fright 5.00 

Irish 4.00 

Yankee 4.00 

Flow 5.00 

Scalp 2.00 

Negro 1. 00 

Negro, extra quality 1.50 

Negro, White or Gray 1.50 

Negro, with Top Knot ..... 1.50 



BEARDS, WHISKERS, and MOUSTACHES. 



Full Beard, without Moustache, on 

Wire $i. 7S 

Full Beard, without Moustache, ven- 
tilated 2.50 

Full Beard, with Moustache, on Wire, 2.00 
Full Beard, with Moustache, ventilated, 2.75 
Side Whiskers and Moustache on wire, 1.50 
Short Side Whiskers, on Wire .... 75 

72 



Short Side Whiskers, ventilated. . . $1.00 
Mutton Chop Whiskers, ventilated . 1.50 

Chin Beard, ventilated 1.00 

Moustaches, on Wire 35 

Moustaches, ventilated 40 

Imperials 25 

Throat Whiskers (Sluggers) 75 

Crepe Hair, all colors, per yard . . .25 



H. THEYRE SMITH'S PLAYS. 



Price, 1 5 Cents Each. 



A CASE FOR EVICTION. One male and two female characters— light comedian, 
lady comedian and servant. Interior scene ; modern costumes ; time of playing, 
thirty minutes. This breezy little play is so true to life that everybody enjojs it 
and, as a matter of course, it is always highly successful. A young husband and 
wife have a visitor who makes them twice glad — glad when he comes and doubly 
glad when he goes. The difficulties that the young couple experience in getting 
rid of their guest, without hurting his feelings, are laughable in the extreme. 
The guest, by the way, is heard but not seen— which fact gives rise to much 
comical business. No scenery whatever is required; and as every-day costumes 
are worn, the piece can be produced successfully without the slightest trouble. 

CUT OFF WITH A SHILLING. Two male and one female characters- 
juvenile man, old man and lady comedian. Scene, a sitting-room ; modern cos- 
tumes ; time of playing, forty-five minutes. An exceedingly popular play, offering 
unusual opportunities for good acting. A young man who has married without 
his uncle's consent is cut off with a shilling. But the uncle meets, his nephew's 
wife — not knowing who she is — and is so captivated by her wit, grace and beauty 
that, on learning who she is, he changes his mind, reinstates his nephew and 
allows the latter to return the shilling. The dialogue is witty, the action rapid, 
and the situations effective. 

A HAPPY PAIR. One male, one female character— both light comedy. Scene, a 
nicely furnished room ; modern costumes ; time of playing, forty-five minutes. A 
brisk little play, full of action and giving numerous opportunities for clever work. 
While entirely free from all "low-comedy" business, it contains enough humor 
to be highly diverting. The quarrels of the " happy pair," and their final recon- 
ciliation can not fail to please, and the play is sure to give entire satisfaction 
cither in the parlor or as a " curtain raiser" or afterpiece. 

MY LORD IN LIVERY. Four male and three female characters— light comedian, 
low comedian, old man, utility, lady comedian and two walking ladies. Parlor 
scene; modern costumes ; time of playing, fifty minutes. An unusually bright 
piece brimming over with wit and humor. The three young ladies who permit a 
comic servant to meet them on terms of equality under the belief that he is a 
nobleman masquerading like themselves — the happy-go-lucky young nobleman 
who is mistaken for a burglar — the comical old butler — all have a vast deal of 
laughable by-play and business. This play was a pronounced success in New 
York, and has been presented to crowded houses in all the principal cities of this 
country. The ease with which it may be staged, and the invariable success which 
attends it, make My Lord in Livery peculiarly adapted to the use of amateurs. 

UNCLE'S WILL. Two male and one female characters — juvenile lead, eld man 
and lady comedian. Scene, a sitting-room ; costumes, modern ; time of playing, 
thirty minutes. This brilliant little play is a prime favorite in both Europe and 
America, and is admirably adapted to the use of amateurs. The wit flashes 
like a diamond, and the dainty bits of humor scattered here and there keep up a 
constant ripple of pleased excitement. Each character is a star part. The dash- 
ing young naval officer, the comical old man — in which Mr. Davidge made :t 
pronounced hit at the Fifth Avenue Theatre, New York — and the bright and 
spirited young lady, all are first class and worthy of the best talent in any dramatic 
club. 

WHICH IS WHICH. Three male, three female characters— juvenile man, old 

man, utility, two juvenile ladies and old woman. Scene, a studio ; costumes, 
modern; time of playing, fifty minutes. Excellent and much patronized by 
amateurs. The amusing perplexities of the poor artist, who can not tell which of 
his visitors is the heiress and which her penniless friend — who mistakes one for 
the other — who makes love to the rich girl, supposing that she is poor, and deter- 
mines to marry her in spite of her supposed poverty — and who finally discovers 
that he has proposed to the heiress after all— combine to make this a delightful 
P la y- 



A ny of the above will be sent by ma il, postpaid, to any address, on receipt 
0/ the annexed prices. As there are several editions of these plays offered for sale., 
good, bad and indifferent, purchasers will consult their own interests^ when ertUr- 



HAROLD ROORBACH, Publisher, 9 Murray St., New York. 




HELMER'S 

ACTOR'S MAKE-UP BOOK. 

A Practical and Systematic Guide to the Art of Making uj> for the Stage, 



PRICE, 25 CENTS. 



With exhaustive treatment on the Use of Theatrical 
Wigs and Beards, The Make-up and its requisite materials, the 
different features and their management, typical character 
Masks, etc. With Special Hints to Ladies. Designed for the 
use of Actors and Amateurs, and for both Ladies and Gentle- 
men, Copiously Illustrated. 

CONTENTS. 

I. Theatrical Wigs.— The Style and Form of Theatrical Wigs 
and Beards. The Color and Shading of Theatrical Wigs and Beards. 
Directions for Measuring the Head. To put on a Wig properly. 

II. Theatrical Beards. — How to fashion a Beard out of crepe 
hair. How to make Beards of Wool. The growth of Beard simu- 
lated. 

III. The Make-up — A successful Character Mask, and how to 
make it. Perspiration during performance, how removed. 

IV. The Make-up Box. — Grease Paints. Grease paints in 
sticks; Flesh Cream; Face Powder; How to use face powder as a 
liquid cream ; The various shades of face powder. Water Cos- 
inetique. Nose Putty. Court Plaster. Cocoa Butter. Crepe Hair 
ar>d Prepared Wool. Grenadine. Dorin's Rouge. "Old Man's" 
Rouge. "Juvenile" Rouge. Spirit Gum. Email Noir. Bear's 
Grease. Eyebrow Pencils. Artist's Stomps. Powder Puffs. Hares* 
Feet. Camels'-hair Brushes. 

V. The Features and their Treatment. — The Eyes : blind- 
ness. The Eyelids. The Eyebrows : How to paint out an eyebrow or 
moustache ; How to paste on eyebrows ; How to regulate bushy eye- 
brows. The Eyelashes : To alter the appearance of the eyes. The 
Ears. The Nose : A Roman nose; How to use the nose putty; A 
pug nose ; An African nose; a large nose apparently reduced in size. 
The Mouih and Lips : a juvenile mouth ; an old mouth ; a sensuous 
mouth; a satirical mouth; a one-sided mouth; a merry mouth ; A 
sullen mouth. The Teeth. The Neck, Arms, Hands and Finger- 
nails : Fingernails lengthened. Wrinkles : Friendliness and Sullen- 
ness indicated by wrinkles. Shading. A Starving character. A 
Cut in the Face. A Thin Face Made Fleshy. 

VI. Typical Character Masks.— The Make-up for Youth : 
Dimpled cheeks. Manhood. Middle Age. Making up as a Drunk- 
ard : One method ; another method. Old Age. Negroes. Moors. 
Chinese. King Lear. Shylock. Macbeth. Richelieu. Statuary. 
Clowns. 

VII. Special Hints to Ladies. — The Make-up. Theatrical 
Wigs and Hair Goods. 

Sent by mail, postpaid, to any address, on receipt of the price. 

HARO^LDl ROORBACH, Publisher, 

9 Murray Street, New York. 



